April 30-May 3, 2010

Conversations Series:
Dog with Two Balls

glazed ceramic

Conversations Series:
Conversations with Twine

glazed ceramic

Patti Warashina
Patti Warashina was the subject of a visually stunning two-person exhibition at the Northern Clay Center & Minneapolis Institute of Arts from September 25-November 8, 2009.

This exhibition examined Patti Warashina's exploration of the human figure which has been an absorbing visual fascination in her work. The two works which will be presented at ArtChicago were included in the exhibition. Warashina has been using the figure in voyeuristic situations in which irony, humor, and absurdities portray human behavior as a relief from society’s pressure and frustrations on mankind.

Red Poeny Lovers
glazed porcelain

Anticipation Meets Trepidation-
The Long Arm of Love
glazed porcelain


David Furman
Recent exhibition: Pomona, CA, AMOCA, "David Furman: The Artist is in the Details" from May 16 through July 25, 2009.

"David Furman: The Artist is in the Details" at AMOCA was a vibrant retrospective exhibition that included various bodies of work, starting with his early emphasis on miniature environments, through his trompe l’oeil stage to his current figurative work, called Body Language. David Furman has a unique place in contemporary ceramic history. His work represents a break with ceramic artists Wayne Higby, Don Reitz, Paul Soldner, Peter Voulkos and others of that period who used a potter’s wheel, adhered to the vessel format, and who linked their ceramic sculpture to the age of “abstract expressionism.” Studying under Howard Kottler at the University of Washington, Furman was greatly influenced by Kottler’s conceptual approach. Additionally, Furman admired Robert Arneson and has perhaps more in common with other Northern California’s “fool-the-eye” artists such as Richard Shaw and Marilyn Levine.

Blue Lotus Plate
glazed porcelain

Blue Lotus Vase
glazed porcelain

Zhu Legeng
Zhu Legeng, one of the most respected and well-known Chinese ceramists has been a major force in Chinese ceramics since his 1997 solo exhibition held at the National Art Museum of China (NAMOC). At a time when contemporary Chinese art ceramics were all but unknown on the international scene, Zhu determined that making an impact outside of China was an essential step toward reviving China’s status as a producer of fine and innovative ceramic art. As a result, he participated and curated several exhibitions abroad. Although many of his forms are recognizable, they are not simply representative or utilitarian. Zhu states that he tries to explore universal concepts through his ceramic pieces. Though they often appear to be born of fantasy, Zhu asserts that his intent is to explore human attributes such as spirituality and emotion, as well as our relationship to our environment and the universe in which we live. Zhu does not make his connections explicit; rather, he tries to create subtle sensations that lead viewers on their own journey. He does this partly by using his materials – clay, glaze, pigment, and the effect of the kiln’s heat – to create expressionistic forms that challenge the viewer to travel beyond the ordinary and straightforward.


Musical Stele


Jesus Moroles
Spring and Summer 2009: Moroles was the subject of a solo exhibition at Grounds for Sculpture, New Jersey.

Jesus Moroles is an internationally known stone sculptor whose works have been placed in gardens, public plazas, memorials, and religious spaces. His sculptural pieces are reminders of life all around us and our responsibility to respect the past, to manage the present, and to build the future. Moroles established himself as one of the master sculptors of his generation with the completion in 1996 of "sculpture plaza" for the Edwin A. Ulrich Museum in Wichita, Kansas. In the tradition of his esthetic mentor, Isamu Noguchi, Moroles designed and sculpted from granite, a "Granite Landscape" comprised of terraced slabs forming a stone riverway, a 30 foot long "Fountain Wall" and a 30 foot long "Granite Weaving" wall. Together, these works create a single environment that serves as an entrance to the museum and an outdoor site to exhibit important sculpture. To date, Moroles' work has been included in over 130 one-person exhibitions and over 200 group exhibitions. He has lectured extensively about his work and the issue of public sculpture.

Granite is one of the hardest of all stones and as Moroles is working on a piece he does not necessarily have a clear picture of the piece he wants to complete before starting working on the stone. Eventually he sees a shape beginning to form and just keep looking and try to get a feeling of what it should be, letting the stone tell him its inner nature. He strives to follow the dictates of the stone — by cutting and tearing and polishing, he exposes its inner nature. As he keeps working with the stone, it begins to tell him what its final form might be. Musical Stele examplifies how granite is one of the hardest of all stones. Moroles reads a stone like other people read a book and this work like several of his sculptures is designed to be interactive — it can be touched and rolled and played with. It even makes music.



Structure & Force-Red Horse
glazed ceramic

Fired Painting
glazed ceramic

Shin Sang Ho
Shin Sang Ho's Structure & Force series were superbly featured in his 2007-2008 retrospective at the Clayarch Museum in Gimhae, South Korea. He was deeply impressed by the primitive energy of African art and embarked in the amazing variety of the 2005 Structure & Force series and of the Fired Painting series which were both highlighted in the retrospective. A unique combination of the artist’s creative passion and of technology made the Structure & Force series possible and has been characterized by the unique range of its vibrant colors. Beyond his 20 solo exhibitions and 80 group exhibitions, Shin Sang Ho has established himself as a major force for large sale commissioned projects, integrating the use of ceramics in architecture.

"Fired Painting" measuring 32 1/2" x 79" consists of 8 glazed ceramic tiles creating a visually stunning mural with its juxtaposition of brilliant hues and pure abstract beauty. This work like a number of Shin's "Fired Paintings" reveals the artist as a supreme colorist in his formal organization of vivid colors.

Trois Bouquets
oil on canvas

Les Quatres Rectangles
oil on canvas

Georges Rohner
Throughout his long and productive career, Georges Rohner (1913-2000) presented his work across the world in hundreds of exhibitions such as the Venice Biennale, the Museum of Modern Art, Paris, Wildenstein & C ° Inc., London & New York, the Musee des Beaux-Arts d'Orleans, the Musée des Beaux-Arts de Quimper, the Espace Cardin in Paris and the Musée du Louvre. His sophisticated figurative work was featured in two critically acclaimed recent major group exhibitions: The Musee de l'Orangerie, Paris 2007 "Peintre de la Realite" and the impertinent "Ingres et les Modernes" which payed homage to the modernity of XIX century master Ingres, held at the Musee National des Beaux-Arts du Quebec from February 5-May 31 2009 and at the Musee Ingres in Montauban, France from July 3-October 4, 2009. Trois Bouquets is a bold still life, one that as often with Rohner shows a little of every style, the sophisticated (ironic), even the baroque (albeit restrained) and pure playfulness (controlled).

Les Quatres Rectangles is a peaceful still life, one that as often with Rohner shows more than a unique style, the sophisticated and also pure controlled playfulness.

Pylon #993



Robert Sperry
Critical success of his current retrospective: "Robert Sperry: Bright Abyss" at the Bellevue Art Museum from October 10, 2009-January 31, 2010

This bold retrospective explores the life and artistic evolution of one of ceramics’ great innovators: Robert Sperry. Originally organized by the American Museum Of Ceramic Art, The local presentation of this exhibition has been expanded to include pieces from public and private collections in the Northwest, giving a comprehensive panoramic view of his legacy as a seminal contributor to American ceramics and contemporary art. It highlights over 70 works, including platters, wall plaques and sculptures, examining Sperry’s lifelong dedication to innovation in ceramic art.
Although Sperry experimented with many forms and techniques, he was best known for his large stoneware platters, tile murals and sculptures, mainly painterly abstract gestural compositions rendered in a black-and-white palette on richly textured surfaces notable for their crackling patterns which could resemble a parched, cracking riverbed or just as easily planetary constellations. To achieve these patterns, Sperry, through persistent experimentation, became a master of the “crawl glaze,” in which he applied liquid clay—slip—over glaze. “When I work with slips over fired glazes, there is much that is accidental, especially in the way the cracks form,” Sperry wrote in 1990 in Ceramics Monthly. “Yet I have considerable control by choosing the method of application. I can brush slip, pour it, trowel it, throw it, drop it, make it thin or thick. Each method will create different forms of cracking.” "Pylon #993 is a perfect example of such a technique.

Golden Embers
oil on canvas

Margie Hughto
Margie Hughto has examined ceramics in a non-traditional format, finding her metier in the slab or wall-mural format. Her work is characterized by shifts in color, shape and style. It includes like in "Golden Embers" references to landscapes and to painterly and natural abstraction. Her ceramic tablets and large wall reliefs are about color and filled with color. Hughto states that "essentially the work could be described as paintings made of clay and glazes. My work is basically abstract but can convey to the viewer a particular feeling or sensation, such as, warmth, romance or playfulness. More than anything, I like my work to transmit qualities of good, beauty, magic, and wonder. I try to cut through time and space, excite the mind and somehow go beyond."

Untitled (Plate)
oil on canvas


Peter Voulkos
Voulkos's sculptures are famous for their visual weight, their freely-formed construction, and their aggressive and energetic decoration. Voulkos played a major role in the post-World War II era in raising conservative ceramics beyond its accepted limits to where traditional wheel-thrown, slab-built, glazed clay techniques were transformed into the fine art of Abstract Expressionist sculpture. Thus, Voulkos became, among other artistic distinctions, the leading ceramic sculptor of the 1960's, and made California a major center for experimentation with clay.

To No Man's Land
oil on canvas

Protee, Paysage
avec Deux Personnages

tempera on paper

Assadour proposes a journey to us that is beyond our geographical present, outside the space in which we live and beyond even the space in which we dream. Assadour is an artist who thinks his dream but who equally dreams his reflection. He attempts to pursue the dream, to seize it and sew it together again the better to reconstitute it in all its deceptions and its surprises. With all its intermediate range of pinks, blues and grays, the color creates new legendary and lyrical “traps”, here and there by virtue of its very fluidity. The color scheme of "To No Man's Land" with all its intermediate range of yellows, oranges, reds, beiges and blues creates new legendary and lyrical “traps”, here and there by virtue of its very fluidity.

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