Spring Drawings

Review: Hermaphadites: Living in Two Worlds

At the Wexler gallery in Philadelphia, Leslie Ferrin curated an obscure, ceramics exhibit entitled "Hermaphrodites: Living in Two Worlds". This sculptural show focuses on living a split lifestyle, whether that means living by means on two genders or living between art and decoration. These artists were brought together because they manipulate what clay can do and say in the formal gallery. As a whole, the show was came together well in the wonderful space. All the artist involved took the subject and it's concept very differently.

Although the theme of the show was on the obscure side, all the pieces involved were not overtly sexual or uncomfortable. As a whole, most of the objects represented were tasteful and even beautiful.

This particular area of gender related psychology has always fascinated me. From the accounts I have studied about, questioning gender is such an exhausting and hard process because you are basically not conforming to your biological self. Gender is one of the first self-actualization tools we learn as infants... there are two different kinds of people, boys and girls. I am a girl, you are a boy. If this is questioned and confronted at such a young age, then how can you keep developing into "you"?

Tip Toland's work amazes me in a horrific way. Toland's figures are very proportionate and realistic, especially considering the medium and the life sized scale of the work. However, Toland does utilize paint, pastel, and chalk to get the realistic, human surface. The figures I have seen in exhibits are placed on the low, ground level and appear tired and life-less.


This piece titled Tender Flood represents the stress of living between two genders. The way that Toland presents this figure is eerie. There is so much ambiguity in the pose and expression. Is he/she sleeping? Was he/she stricken by surprise? Does he/she know they are naked to the world right now? This is a nice collation to the ambiguity of being a trans-gender individual. A constant reminder of feeling slightly odd and out of place in the most mundane situations.

When I saw this piece in the Wexler gallery, I felt oddly compelled to keep looking at the figure. I kept noticing the nice blending of both male and female attributes. In my mind, I kept trying to place if I saw this figure as more of a male or female. And honestly, I still cannot come up with a solid answer. As a viewer, the uncomfortable feeling I gained from staring at this extremely realistic, freakesque person was what held my interest.

Sources:
http://www.wexlergallery.com/wexler.html
http://www.ferringallery.com/dynamic/exhibit_artist.asp?ExhibitID=352
http://www.tiptoland.com/

Review: Grey Whales:Philadelphia

Shay Church, constructed a inspiring installation in an abandoned lot in downtown Philadelphia. He worked with art students at the University of the Arts in conjunction with NCECA 2010 exhibitions. He constructs wooden armatures of animals, much like a ship, and then covers them with wet clay. Then over time, the clay cracks in a beautiful fashion, both informed by the armature and the natural tendencies of clay cracking.



I first saw Church's work at NCECA 2009 in Phoenix. I stumbled upon his whale right after he placed the bulk of the wet clay on the whale. I was taken away by the size and the gradual change taking place on the animal.

At first, I questioned his subject matter, especially after seeing his prior work with animals such as elephants and deer. But after seeing these three whales outside, in the middle of a city, drying quite rapidly in the sun and heat of the middle of the day, I saw the connotation of a beached, tired, whale. Scientists are still unsure of why whales beach themselves on shore. It is hard to not place a human physiological reasoning to it, like they are tired of life and just want to commit suicide. On an environmental stand point, this piece is beautiful because it's message is so subtle, and the piece is aesthetically strong on it's own. The clay that was once alive and green is not drying and cracking apart, much like a whale would on the shore.

Seeing Church's work at both NCECA conferences, the realization of how important the site is for these pieces to work is very important. In 2009, the whale was inside a large, indoor room with a lot of other ruckus going on. 2010 the whales were placed outside in the open sun, a much more appropriate place for these works.

Overall, I was very impressed with his work and I look forward to seeing where he evolves with this idea.

Review: Earth Matters

The 2010 invitational exhibit, "Earth Matters", featured ceramic artist's whose work centered around the ever-important environmental issues that we are faced with in the past, present, and future. The exhibit was held at the Moore College Gallery, which is an art school for women, in the middle of the museum district in Philadelphia, PA.

For the most part, I was impressed with the space and the overall flow of the show. But more importantly, I was very impressed with the quality of work shown in the gallery and how each artist has their own take on the subject of "Earth Matters". The show's curator, Linda Ganstrom, explains that her main goal in bringing this group of artists together is to make the viewer aware of what the common human's impact on this fragile planet is. She has high hopes that "Earth Matters" inspires change in our everyday lives.

This piece by Kate MacDowell is titled "Daphne". According to Greek Mythology, Daphne was a nymph that was pursued by Apollo until she violently transformed into half Laurel, half woman. However, her beauty still shined through the rooted feet and leafed hands, therefore Apollo still loved her. MacDowell explains that she was influenced to pursue this piece after hiking through Washington and Oregon's countless miles of freshly cut forest.

She was aesthetically and philosophically influenced by this sculpture by Bernini titled "Apollo and Daphne". She feels the her version is almost a modern day rendition on how we are treating our land.

I think "Daphne" is compelling on many levels. First off, MacDowell's technical use of porcelain is flawless. It also makes this dirty issue a little cleaner. I also appreciate the way she displayed this work on the floor. It forces the viewer to look down at the shards and displacement of this tree, as though someone accidentally knocked over and broke the sculpture just before you arrived in the gallery. Upon further inspection, you realize that there was intention in this broken matter, and everything is broken and placed for a reason.

The connection of human and nature is literally staring at you in face, by means of the look of horror on Daphne's beautiful face. It is the same look of horror after being raped, which was a constant concept that I took from this piece. Like innocence, it is something that was stolen from Daphne and cannot be made up. Due to the juxtaposition of the material, I feel that this piece does not guarantee a pleasant future, even if we make changes. You can try to put the pieces back together, but what is done is done.

Sources: NCECA 2010 "Earth Matters" exhibit catalog.

Gender Issues: Jason Briggs

Jason Briggs is interested in looking at the urge to touch, especially in the sexual context. He wants to look at our unconscious urges to be suddenly, extremely tactile while being in a sexual act, yet our culture constantly yearns for personal space while in a public space.

I was initially attracted to Briggs work due to his choice of materials, namely human hair. The way he places every piece of, dare I say, pubic hair, is flawless. While looking for more images of his work, I am amazed by the response he gets because of the hair. His pieces suddenly become gross and distasteful. However, hair is one of the most important cosmetic tools to people, especially women. If a woman gets a bad haircut or has a bad hair day, we do not even want to leave the house. But if there is a piece of hair in our food, or apparently on sculptures, the hair is nasty and repulsive.

His forms are very soft. They reference sexual anatomy with the open, inviting openings, contours, and shapes he incorporates. I see his work as representing sex as a beautiful thing. Most artists seem to show sex in a violent, dirty, or dangerous context, when it should be far from that. Briggs soft palate, luscious textures, and inviting forms almost makes me want to start rubbing against his pieces, hair and all!

The Social and Human Condition: Jeffrey Mongrain

This piece is by Jeffrey Mongrain and it is titled The Philosopher's Halo. This sculpture depicts Saint Thomas with the large halo in front of his head instead of behind. This signifies that Thomas had a different way of looking at things than the other apostles. We have a skewed view of St. Thomas as well.

Given the idea that the bible is true, the story of Thomas doubting Jesus is powerful to me. It teaches an interesting story of having faith, which is something that I lack. After Thomas doubted Jesus resurrection, Jesus replied "blessed are they that have not seen, and yet have believed". It is poetic and appropriate when this part came in the story of the bible. The concept of blind faith is essential to be a Christian, and convenient in life overall. To me, faith is an easy way to say it is not in my hands and I am just going to choose to believe that it is now in someone eles' hands. Because Thomas had the courage to doubt Jesus, he is remembered not as one of Jesus closest apostle, but as a skeptic.

I enjoy this appropriation of religious iconography, especially on this scale. The context of it being placed in a large, marbled, church setting instead of a sterile, white, gallery makes the piece, as a whole, stronger. This piece is a great example of how a simple juxtaposition makes a huge statement, while still remaining quite tasteful.

Sources:
http://www.hunter.cuny.edu/art/faculty/mongrain.htm
http://www.jeffreymongrain.com/
Confrontational Ceramics by Judith Schwartz

War and Politics: Akio Takamori

Judith S. Schwartz compiled a new clay book titled Confrontational Ceramics. As I carry this book around town, I get some odd stares and a couple of giggles. I think the average person still sees clay as something Grandma does on Tuesday afternoons with the China Painting Club. Not anymore, Folks. Schwartz does a fantastic job of displaying the range of issues clay attempts to tackle, while still referencing the broad scope of ceramic history. Clay may start out soft, but it proves to pack a punch in the end.

The first section of this book deals with war and politics. Although I have solid opinions on the philosophy behind war and politics, I try not to dwell on it because that would lead to nothing but nausea and sadness. Realistically, I do not feel the art represented in this book is going to shake and stir the US government, or any government in that matter, into radical changes. But I do feel theses works can inform, influence, and convey a message to the many viewers(voters) that see the art.

I feel that many political/war artists feel it is their duty to convey their feelings and ideas about what out current state of affairs is, no matter how ugly. This is where political/war art falls short, the idea is usually a larger message than the aesthetics. With the general public knowledge of what happens during a war, and our unreliable, greedy politicians, it is easy to see that there is no beauty to be found.

The piece that stuck out in this section to me, is about the fringing effects of war. It is by Akio Takamori and it is titled Dance. There are many questions that arise when Takamori sees images of a young GI dancing with an Asian woman. He explains that he tries to interpret the relationship. Are they in love? Is she a prostitute? How does her family feel about this? Does he have a family waiting at home? Takamori says that even in a ideal situation, the odds are against them.

This piece is the simple, yet powerful use of black, white, and red. The way that the Japanese woman looks up at the GI in admiration and wonder. The GI's stature overshadows the small Japanese woman, to create the perfect scale.


For me, Akio Takamori is like an obscure band; give it some time, and the art will grow on you. When I had first seen his work a few years ago, I honestly could take it or leave it. I felt that his forms were flat and lifeless. Man, was I wrong. My interest sparked when I first got up to UAF and I actually got to see/touch one of his works. His sculpture is one of the biggest we have in our bone yard. Now that I am working stylized figures, I am slightly obsessed.


I look at his figures now and see why he uses an economical volume in his work. I also see the complexity in the bold, slip-work. The line quality is influenced by Japanese woodcuts - each line is jagged and crude, but placed together, they work together like a flowing symphony. "When I'm building, I'm aware of how much to articulate.If there's too much articulation, there's not enough space to render illusion."(Takamori, Ceramics Monthly)


The scale of his figures is not life sized, instead Takamori references historical references like Haniwa Japanese figures.





Lately, Takamori has been making groupings of figures in order to create a more dynamic configuration. I feel that this work is successful for many reasons. Most of all, I feel that it forces us, as humans, to compare the figures because they are set up right next to each other, much like in the Dance. It also makes me, as the viewer, create a narrative as to why all these people are placed together.


Sources:
frankloyd.com
seattletimes.nwsource.com
Judith S. Schwartz, Confrontational Ceramics
Ceramics Monthly; Feb2000, Vol. 48 Issue 2, p55
Ceramics Monthly; Dec2005, Vol. 53 Issue 10, p14-16