The Artist Residency Program at HCCC gives resident artists a space for creative exploration, exchange, and collaboration with other artists, arts professionals, and the public. HCCC Curatorial Fellow María-Elisa Heg notes, “This edition of In Residence finds HCCC’s resident-artist cohort adapting to unprecedented times. The works on view represent a determined continuation of craft practice, affirming its vital importance to the world at this time.”

Audrey LeGalley and Brian Vu use clay to explore the emotional and physical dimensions of domestic space. LeGalley builds furniture forms like chairs, frames, and storage shelving with delicate white porcelain, offering a meditation on the ways in which objects or places have an underlying fragility. Vu draws on color theory and the field of fine dining to create abstracted plates and utensils. He extends his experimentation to include furniture, creating place settings that are both familiar and fresh.

Nicolle LaMere and Abi Ogle engage with nature, exploring the properties of natural materials like dirt, grapefruit membranes, and human hair. LaMere experiments with natural processes, such as fermentation, to capture ephemeral forms that simultaneously distill and reflect on the vast scope of time. Ogle’s fascination with materiality leads her to methodically consume and stitch together fruit skins, sew with human hair, and enshrine years of thoughts and emotions into free-hand embroidery.

Lauren Eckert and Tim Gonchoroff incorporate the motifs and materials of consumer culture in their work in metalsmithing and fiber, respectively. Eckert draws on the visuals of early digital culture, incorporating image-making software into her metalsmithing process to fashion objects of an alternate reality. Gonchoroff recycles discarded commercial vinyl, weaving and collaging it into compositions that harness the random patterns and colors of the found material.

Masako Onodera and Maxwell Mustardo use familiar forms as a jumping-off point for their explorations in metal and clay. Using found heirloom objects, Onodera crafts jewelry and objects that meditate on inherited histories and the ways in which objects like platters and furs visually denote the traditionally female domestic space. Mustardo’s work in clay is inspired by the mathematical exploration of surfaces, distorting objects like mugs and pitchers beyond their functional role and emphasizing their forms with experimental glazes and surface finishes.

In Residence: 13th Edition was curated by HCCC Curatorial Fellow, María-Elisa Heg.  More information about the Artist Residency Program can be found at:  https://www.crafthouston.org/artists/residents/.

We invite you to learn more about the exhibition by visiting the virtual learning content below.

LEARN

Exhibition Press Release
Extended Exhibition Content

EXPLORE

Live Event: Craft Chats: “In Residence” tour with María-Elisa Heg  October 8, 2020 at 1:00 PM

Details of Nicolle LaMere‘s Glomus, and a demonstration of her glazing on a banding wheel

Tim Gonchoroff explains his process of weaving with vinyl on a loom

A reflected view of Masako Onodera‘s studio on a rainy night

A selection of work produced by Maxwell Mustardo during his time at HCCC

Close ups of Brian Vu working on his wheel and storing leftover clay

Lauren Eckert demonstrates the process of anodization, and solders metal for her jewelry

A selection of photos from Audrey LeGalley‘s time as a resident at HCCC

Videos of Abi Ogle at work, the making of Southern Hospitality, and a view of her family home

Image credits:

1. Lauren Eckert, 8bit Gem, 2019. Digital collage on synthetic silk chiffon. 36 in x 36 in. Photo by the artist.
2. Lauren Eckert, Synthetic Relic 2, 2020. Titanium, steel. 2″ H x 2″ W x 0.75″ D. Photo courtesy of the artist.
3. Tim Gonchoroff, Untitled Collage (Nightscape), 2019. Fused vinyl. 11” x 7”. Photo by the artist.
4. Tim Gonchoroff, Untitled Collage (TP Blue), 2020. Fused vinyl. 8” x 5”. Photo by the artist.
5. Nicolle LaMere, This Is Not a Nest, 2020. Grolleg porcelain cast tumbleweed, mica powder, epoxy. ” H x 3” W 3” x 5” D. Photo by the artist.
6. Nicolle LaMere, Untitled Vessel, 2020. Grolleg porcelain cast tumbleweed. 4.25” H x 4.25” W x 4” D. Photo by the artist.
7. Audrey Legalley, Girlhood Scary, 2018. Porcelain, found linens. 6 ft x 6 ft x 6 ft. Photo by Barbara Miñarro.
8. Audrey Legalley, Laundry Basket, 2018. Porcelain. 18 x 18 x 18 inches. Photo courtesy of the artist.
9. Maxwell Mustardo, Pink Toroid, 2018. Stoneware and plastic. 19″ diameter x 9.5″ height. Photo by the artist.
10. Maxwell Mustardo, Black and White Shot Glass, 2019. Glazed porcelain. 5″ x 4.5″ x 4″. Photo by the artist.
11. Abi Ogle, Southern Hospitality Spoon, 2020. Family heirloom, dandelions. Approximately 6 x 1.5 x 1 inches. Photo courtesy of the artist.
12. Abi Ogle, ReMembered, 2020. Ruby Red Grapefruit membranes, monofilament. Approximately 4×5 ft. Photo courtesy of the artist.
13. Masako Onodera, Ghost, 2020. Handmade washi paper, ink, thread, piano wire. 4 ½ ft high x 8 ft long x ½ ft deep. Photo courtesy of the artist.
14. Masako Onodera, Party, 2020. Handmade washi paper, coffee, thread, piano wire, silicon, MDF board, paint. 2 ½ ft high x 6 ft wide x 3 ft deep. Photo courtesy of the artist.
15. Brian Vu, PLURAL NEGATIVE V.01, 2019. Porcelain, steel, rayon flock. From left to right: 4 ft x 3 ft, 5/7 ft x 2.5 ft, 6 ft x 3 ft. Photo courtesy of the artist.
16. Brian Vu, PALATE_ PALETTE_ (00001,0001,001,01), 2020. Porcelain, steel, aluminum, rayon flock, and glass. Dimensions unique. Photo courtesy of the artist.

Spearheaded by New Orleans-based metalworker and designer Rachel David of Red Metal, Meta-Formation first debuted at the Appalachian Center for Craft (Smithville, TN) in 2019. Jurors Andy Cooperman, Hoss Haley, and former HCCC Curatorial Fellow Sarah Darro selected works from an open call, giving preference to those that exhibited outstanding sculptural and design qualities.

For the exhibition’s second iteration, David and HCCC Curator Kathryn Hall invited a new group of artists to contribute work. Hall commented, “With the opportunity to utilize a larger gallery space, Rachel and I wanted to expand the exhibition to include more artists who are influential in the field, as well as those who demonstrate a unique approach or perspective, illustrating that there is more out there than what has traditionally been presented.” As a whole, Meta-Formation demonstrates the evolution of contemporary blacksmithing and those inspired by the field, bringing some well-deserved attention to this frequently overlooked craft discipline.

Meta-Formation: New Connections in Contemporary Blacksmithing is organized by Rachel David in collaboration with HCCC Curator Kathryn Hall and was juried in part by Andy Cooperman, Sarah Darro, and Hoss Haley.

We invite you to learn more about the exhibition by visiting the virtual learning content below.

LEARN

Press Release with Jurors Bios
Extended Exhibition Content
Low-Vision Gallery Guide
Sarah Darro, “The Contemporary Blacksmith Re-Examined,” Meta-Formation: Experiments and Rituals ex. cat. Rachel David, ed. Self-published, 2019. 

EXPLORE

Live event: Craft Chats: “Meta-Formation” tour with Kathryn Hall
September 24, 2020 at 1:00 PM

Live event: “Meta-Formation” conversation with Rachel David & Kathryn Hall
October 31, 2020 from 3:00 pm to 4:30 pm

Video: Discover how Monica Coyne uses hot forging techniques to shape her sculptures

Video: See how Rachel David uses repoussé technique to create bodily surfaces

Video: Watch Johannes Postlmayr experiment with a hydraulic press to distort cut steel 

Video: Explore the inner workings of Seth Gould’s “Indicator Lock” (2020) 

Video: Learn about how Joshua Goss references geologic time in his “Ductile Compression” series

Image credits:

1. Johannes Postlmayr, “Distorted Geometric N°1,” 2017. Steel. 3.9 x 2.76 x 2.36 inches. Photo by artist. Courtesy of the artist.
2. David Barnhill, “Emulation of Shaomi Katsuyoshi,” 2017. Copper and nickel. 30 x 24 x 10 inches. Photo by artist. Courtesy of the artist.
3.  Joshua A. Goss, “Ductile Compression 10,” 2015. Carbon steel, stainless steel, bronze. 22x18x12 inches. Photo by artist. Courtesy of the artist.
4.  Rachel Kedinger, “Garden Tools,” 2016. Steel and brass rivets. 17 x 10 x 4 inches. Photo by Mercedes Jelinek. Courtesy of the artist.
5.  Andrew Hayes, “Chevron,” 2019. Fabricated steel and book paper. 6 x 3 x 3 inches. Photo by Steve Mann. Courtesy of the artist.
6.  David Barnhill, “Embers in the Night Sky,” 2017. Brass 230, brass 260, nickel 752, copper. 6 x 6 x 6.75 inches. Photo by artist. Courtesy of the artist.
7.  Kest Schwartzman, “Falcon Mask for a Mink, Mink Mask for a Chicken, and Chicken Mask for a Mole,” 2018. Stainless steel, copper, bone, brass, glass jar. Photo by artist. Courtesy of the artist.
8.  Lisa Geertsen, “Wide Open,” 2018. Steel and copper. 7 x 7 x 5.75 inches. Photo by Michelle Smith Lewis. Courtesy of the artist.
9. David Harper Clemons, “The Over Looked – Bread Basket No. 1,” 2018. Mild steel, copper, brass, ash. 14 x 14 x 12 inches. Photo by artist. Courtesy of the artist.
10.  Elizabeth Brim, “Scroll,” 2015. Forged steel. 14 x 12 inches. Photo by Robin Dryer. Courtesy of the artist.
11.  Stephen Yusko, “Reliquary: Solitude,” 2017. Forged, machined, and fabricated steel, glass, painted wood. Photo by Dan Morgan. Courtesy of the artist.

Historically, the decorative arts prize a strict hierarchy of material and technique set forth by a select group of arts professionals and collectors. HCCC Curator Kathryn Hall says the artists in this exhibition disrupt assumptions about the genre’s history, by making it relatable to a broader audience: “By recontextualizing traditional archetypes, patterns, and decorative motifs in a modern world, these three artists look critically at how they identify with these cultural artifacts.”

Furnituremaker Sophie Glenn challenges conventions of traditional fine furniture through her innovative use of material and technique. She creates trompe l’oeil pieces from metal that closely resemble historically revered archetypes often associated with fine woodworking. In Purple Reign (2019), she welds steel into the form of a Windsor-style bench, a common piece of wooden furniture with turned spindles that create the seatback. Glenn paints the steel and then rusts away its surface to give the appearance of a painted wooden bench that has worn over time.

First trained as a studio potter, Steven Young Lee throws beautifully proportioned Korean- and Chinese-style vessels that slump and bend during their first firing inside the kiln. In pieces like Gourd Vase with Bats and Clouds (2019), he paints deconstructed porcelain forms with his own interpretation of traditional decorative motifs that draw from popular culture. As a first-generation American, descended from Korean immigrants, Lee utilizes his work to address issues related to cultural heritage, identity, and a sense of belonging in the Eurocentric portrayal of this genre.

Beth Lipman references the rich visual language of the decorative arts in her installations, sculptures, and photography. In her Ephemera series (2010-2013), she replicates objects found in 17^th-century, Dutch still-life paintings in glass form and later photographs these installations to capture a specific moment in time. The series draws strong parallels between the Dutch Golden Age and the current era of capitalism as a way of exposing the vanity that lies behind excessive wealth and materialism. She also explores the dissonance between civilization and the natural world through photography in the Alone and the Wilderness series (2014) and through cast-metal dioramas in her Distill series (2015).

Breaking Tradition: Contemporary Approaches to the Decorative Arts is curated by HCCC Curator Kathryn Hall and supported in part by a grant from the Furniture Society.

We invite you to learn more about the exhibition by visiting the virtual learning content below.

LEARN

Press Release and Artist Bios
Extended Exhibition Content
Low-Vision Gallery Guide

EXPLORE

Live Event: Craft Chats: “Breaking Tradition” tour with Kathryn Hall
November 12, 2020 at 1:00 PM

Image credits:

1. Sophie Glenn, detail of “Purple Reign,” 2019. Painted and rusted steel. 19 x 52 x 40 inches. Photo by the artist.
2. Sophie Glenn, “Purple Reign,” 2019. Painted and rusted steel. 19 x 52 x 40 inches. Photo by the artist.
3. Sophie Glenn, detail of “Rebel Rebel,” 2017. Painted and rusted steel and annealed wire. 19 x 19 x 42 inches. Photo by the artist.
4. Sophie Glenn, “Rebel Rebel,” 2017. Painted and rusted steel and annealed wire. 19 x 19 x 42 inches. Photo by the artist.
5. Steven Young Lee, “Gourd Vase with Bats and Clouds,” 2019. Porcelain, cobalt inlay, glaze. 19 x 12 x 10 inches. Photo by the artist.
6. Steven Young Lee, “Gourd Vase with Bats and Clouds,” 2019. Porcelain, cobalt inlay, glaze. 19 x 12 x 10 inches. Photo by the artist.
7. Steven Young Lee, “Jar with Scroll Pattern,” 2017. Porcelain, cobalt inlay, glaze. 13 x 16 x 15 inches. Photo by the artist.
8. Steven Young Lee, “Jar with Scroll Pattern,” 2017. Porcelain, cobalt inlay, glaze. 13 x 16 x 15 inches. Photo by the artist.
9. Beth Lipman, “Cheese and Fruit,” 2013. C-print face mounted to acrylic. Edition of three. 28 x 37.5 inches. Photo by the artist.
10. Beth Lipman, “Distill #10,” 2015. Cast iron, enamel, chrome with rust patina. 11 x 9 x 5 inches. Photo by Kohler Co./ JMKAC.
11. Beth Lipman, “Distill #14,” 2015. Cast iron, chrome with rust patina. 12 x 8 x 2 inches. Photo by Kohler Co./ JMKAC.

Winter Exhibitions Reception
Friday,  January 24, 5:30 – 8:00 PM
The evening will also feature the new exhibitions, Escaping Earth: The Kinetic Work of Casey Curran and Drawn to the Work: Illustration and Craft in Conversation, as well as open studios by the current resident artists.  Beer will be generously provided by Buffalo Bayou Brewing Co.

HCCC is pleased to present the 12th edition of In Residence, an annual exhibition in celebration of the Artist Residency Program, which has supported artists working in the field of craft for almost 20 years. In Residence: 12th Edition features work in clay, metal, wood, fiber, and mixed media by 2018 – 2019 resident artists:  Antonius-Tín Bui, Zoe Gross, Heather L. Johnson, Eunsil Leem, Joyce Lin, Robert Raphael, Jared Theis, and Meg Wachs.

The Artist Residency Program at HCCC gives resident artists a space for creative exploration, exchange, and collaboration with other artists, professionals in the field, and the public. HCCC Curatorial Fellow María-Elisa Heg notes, “The artists in this edition of In Residence embrace change, diversity, and openness in their explorations. Their work brings vital new perspectives to the field as we move into the second decade of the 21st century.”

Antonius-Tín Bui and Heather L. Johnson’s work centers around narrative and community. Bui reclaims the Asian craft tradition of paper cutting to honor friends and activists within the community of queer people of color (QPOC), by using large-scale portraiture to command physical space in honor of historically marginalized people. In Search of the Frightening and Beautiful chronicles Johnson’s motorcycle travels, during which the artist searches for stories that create connection in a time of division. She creates embroideries inspired by the stories she collects, leaving them in the hands of the storytellers or out in the open to be found by a stranger.

Jared Theis’s sculptures and videos evoke the multi-media artist’s imaginary world. Gloves, necklaces, and masks bring characters like “Dark Rider” and “Yellow Maiden” to life. Though the pieces are whimsical and colorful, the presence of sharp claws and teeth in his costumes lend a slightly menacing quality to Theis’ fantastical stories–a reminder that the hardships of real life are present in the world he has created.

The process of transformation inspires ceramic artists Zoe Gross and Robert Raphael. Gross evokes the mysteries of nature with clay forms that curve, swell, and decay like living things. Using raw canvas and paper, she creates forms that mimic nests or cocoons. Raphael’s work explores strength and sexuality through interpretations of the Neoclassical revival of ancient Greek imagery. Raphael questions the historical weight of ornamentation by interpreting it as physical weight. His process embraces change, with his pieces often warping during firing.

Eunsil Leem and Meg Wachs explore psychology through metalsmithing and jewelry. Leem addresses governmental and social control and the phenomenon of fake news in both South Korea and the United States. She translates her drawings into silver and copper reliefs, replicating gestures that reinforce complicity. Wachs uses Masonite panels, canvas, and paint in a series that combines color theory and the gestural qualities of painting. She uses color in her jewelry as a tool that can influence the mental and emotional state of the wearer.

Joyce Lin reimagines furniture in an age of impending resource scarcity. Her deconstructed chairs, vacuum-sealed plants, and plastic-encased vases are the sterile furnishings of a futuristic living room. Lin’s subversion of familiar forms provides a glimpse of what the lived environment might look like in a future in which the finite materials that remain on the planet must be protected or lost forever.

In Residence: 12th Edition was curated by HCCC Curatorial Fellow, María-Elisa Heg.  Learn more about the Artist Residency Program here.

Image credits:

1. Zoe Gross, “Vespertine,” 2019. Porcelain and mixed media. 12 x 6 x 5 inches. Photo by Katy Anderson.
2. Robert Raphael, “Herma” (detail), 2018. Porcelain, glaze, wood. 62.5 x 13 x 10 inches. Photo by Elisabeth Bernstein.
3. Robert Raphael, “Herma,” 2018. Porcelain, glaze, wood. 62.5 x 13 x 10 inches. Photo by Elisabeth Bernstein.
4. Antonius-Tín Bui, “Always Act Up,” 2019. Cut paper. 18 x 22 inches. Photo courtesy of the artist.
5. Antonius-Tín Bui, “Not Sorry for the Trouble,” 2019. Cut paper. Dimensions vary. Photo by Ruben Diaz.
6. Zoe Gross, “Heartsore and Hands Busy” (detail), 2018. Stoneware. 27 x 16 x 22 inches. Photo courtesy of the artist.
7. Heather L. Johnson, “Triumph,” 2013. Cotton floss on linen burlap. 69 x 75 inches. Photo courtesy of the artist.
8. Eunsil Leem, “Ephemeral Justice”(detail), 2018. Sterling silver. Found brush, steel, brass, wood. 13 x 7 x 1 inch. Photo courtesy of the artist.
9. Eunsil Leem, “You Are So Naive,” 2019. Fine silver, sterling silver. 6 ½ x 11 inches. Photo courtesy of the artist.
10. Joyce Lin, “Flat Houseplants (Peace Lily),” 2017. Peace lily plant, PETG, soil, resin. 15 x 20 x 5 inches. Photo courtesy of the artist.
11. Joyce Lin, “Skinned Chair (Skin),” 2019. Found furniture, epoxy clay, steel. 18.5 x 18.5 x 38 inches. Photo courtesy of the artist.
12. Jared Theis, “Cape,” 2019. Ceramics, fabric, wire, paint, rhinestones, epoxy. 45 x 47 x .5 inches. Photo courtesy of the artist.
13. Jared Theis “Gold Gloves,” 2019. Ceramics, fabric, wire, paint, rhinestones, epoxy. 18×12.5×3.25 inches. Photo courtesy of the artist.

Winter Exhibitions Reception
Friday, January 24, 5:30 – 8:00 PM
The evening will also feature the opening of Drawn to the Work: Illustration and Craft in Conversation in the Front Gallery, In Residence: 12th Edition in Asher Gallery, and open studios by the current resident artists.  Beer generously provided by Buffalo Bayou Brewing Co.

See more related programming here.

Houston Center for Contemporary Craft is pleased to present Escaping Earth: The Kinetic Work of Casey Curran, featuring kinetic sculptures, asteroid paintings, and installations that reflect the haunting beauty of human innovation and its aftermath. The exhibition, which is Curran’s first solo show outside of Washington State, showcases the artist’s ability to create exquisite sculptures that convey the complexities found within nature, art, and architecture.

In this collection of work, Curran questions the human psyche and the ultimate purpose behind the human drive to define and create.  Representing the impulse to control nature for human consumption, his kinetic sculptures evoke a sense of curiosity and wonder in the viewer.  In pieces like “Seed,” he presents a garden of ghostly, lace-like forms that bloom into gothic tableaus of flora and fauna.  He comments, “We have created both beauty and desolation, defined only through the lens of our goals, and it is through this lens, this eye of the beholder, that I bring a seed of an idea to the audience.”

Curran is also fascinated by the history and future legacy of human innovation and discovery, drawing parallels between the two. Historically, civilizations have tried to make sense of both the infinite and microscopic aspects of the Universe. Curran’s asteroid paintings depict glimpses of these endeavors, as captured by various space programs. The paintings flank a large-scale sculpture of an asteroid, which the artist created using a combination of laser-cutting and handmade techniques during his recent residency with Amazon. The asteroid’s surface design mimics the geometry of stained-glass windows in cathedrals, mosques, and Buddhist temples, bringing together the sacred and profane.

This exhibition captures the impact of human aspirations on the finite system of resources found in the terrestrial environment, as well as on the new frontier of outer space.  HCCC Curator, Kathryn Hall comments, “Curran captures both the beauty and the dark side of innovation. While we continue to build monuments that mark our existence, and we seek to colonize new frontiers, Curran questions the overall costs of this quest for immortality on our ecosystem, giving pause to the universal impact of the human race.”

 Escaping Earth: The Kinetic Work of Casey Curran is curated by HCCC Curator Kathryn Hall.

About Casey Curran
Based in Seattle, Washington, Casey Curran is a metalsmith who holds a BFA from Cornish College of the Arts. Curran has exhibited internationally in several group shows and numerous times in Washington State. He has been the recipient of various awards and residencies, including the 2019 Amazon Artist-in-Residence (Seattle, WA); the G.A.P. Grant, Artist Trust (2014/2010, Seattle, WA); 1^st Place in the City Arts: Fall Art Walk Awards (2014); the Sculpture Space Residency (2013/2010, Utica, NY); and Best of Show for the Poncho IFA Awards (2008/2007). Visit www.caseycurran.comfor more information.

Image credits:

1. Casey Curran, Detail of “We spoke like this to remember,” 2019. Dura-Lar, brass, motor. 84 x 36 x 40 inches. Photo by Adrian Garcia.
2. Casey Curran, “Tusk,” 2019. Chicken pelt, brass, wood, motor, acrylic. 24 x 24 x 10 inches. Photo by Fritz Rodriguez.
3. Casey Curran, Detail of “Seed,” 2019. Aluminum, Dura-Lar, brass, motor. 60 x 132 x 20 inches. Photo by Fritz Rodriguez.
4. Casey Curran, “Jericho,” 2019. Salt and wood. 144 x 144 inches. Photo by artist.
5. Casey Curran, “951 Gaspra,” 2012. Oil on canvas. 32 x 32 inches. Photo by artist.

Winter Exhibitions Reception
Friday,  January 24,  5:30 – 8:00 PM
The evening will also feature the opening of Escaping Earth: The Kinetic Work of Casey Curran in the Main Gallery, In Residence: 12th Edition in Asher Gallery, and open studios by the current resident artists.  Beer generously provided by Buffalo Bayou Brewing Co.

See more related programming here.

Houston Center for Contemporary Craft is pleased to present Drawn to the Work: Illustration and Craft in Conversation, an exhibition of works by Aurélie Guillaume, Chenlu Hou, and Aya Kakeda, three craft artists who draw from a background in illustration. By featuring traditional and digital illustrations alongside works in craft materials, the exhibition explores the intersection of these two artistic disciplines and presents unusually expressive works that tell unique stories.

The detailed brooches of Aurélie Guillaume (Montréal, QC) draw on the historic use of narrative illustration in enamel, particularly the tradition of Byzantine enamelwork, which allowed artists to create intricate portraits. Guillaume translates her energetic and joyful illustrations into large enamel brooches, which can be displayed on the body or by themselves. Her lively and humorous character designs draw upon street and pop art, as well as the narrative qualities of comic-making.

Chenlu Hou (Providence, RI) uses ink, clay, and animation to create a world populated by crowds of mutant bodies moving together with a single consciousness. Influenced by childhood memories, folktales of demons and spirits, and the work of horror comics artist Junji Ito, Hou’s figures stretch and warp unnaturally, limbs detaching and reassembling under their own volition. Merging her personal history with dark images from folklore, Hou’s world has the power to unsettle the psyche by appearing both comfortably familiar and totally alien.

Aya Kakeda (Brooklyn, NY) grew up in Tokyo, where she was influenced by ancient woodblock prints, as well as the work of painter, photographer, and printmaker, Yasuo Kuniyoshi, and the travel photography of Kenji Sato. Her detailed illustrations evoke lush worlds inhabited by moody and whimsical characters. Kakeda has translated her illustrations into toys, ceramic, and installations. Through diorama-building and character design, she plays with scale, allowing viewers to explore the imaginative worlds she creates.

The translation of these artists’ visions, from illustration to craft media, speaks to the commonalities that exist between the two disciplines. Both illustration and craft have historically formed professional guilds or work societies, and both are deeply practice-oriented fields that recognize the merits of time and skill-building. HCCC Curatorial Fellow Maria-Elisa Heg comments, “While all works in craft media tell their stories through materials and process, the expressive and narrative qualities of these works have a palpable sense of personality and life. Every illustrator is a storyteller, and these pieces invite us to imagine novel possibilities, drawing us deeper into both our own fantasy worlds and those of the artists. Drawn to the Work also contributes to the ongoing conversation around how craft is defined in the 21st century by showcasing the exciting and unique work that comes from the intersection of illustration and craft.”

Drawn to the Work: Illustration and Craft in Conversation is curated by HCCC Curatorial Fellow María-Elisa Heg.

For more information about the artists, please visit their websites:

https://aurelieguillaume.com

https://chenlu-art.weebly.com

https://ayakakeda.com

Image credits:

1. Chenlu Hou, “Dinner I,” 2019. Ink on paper. 20×30 inches. Photo courtesy of the artist.
2. Chenlu Hou, “Screen III,” 2019. Clay, zip ties, fabric. Dimensions variable. Photo courtesy of the artist.
3. Chenlu Hou, “Screen III,” (detail) 2019. Clay, zip ties, fabric. Dimensions variable. Photo courtesy of the artist.
4. Aya Kakeda, “When It Rains,” 2017. Ceramic and plastic. 14 x 9 x 9 inches. Photo courtesy of the artist.
5. Aya Kakeda, “Milkshake,” 2017. Ceramic and plastic. 9 x 14 x 6 inches. Photo courtesy of the artist.
6. Aya Kakeda, “Looking at the Sunrise,” 2019. Ceramic. 5 x 10 x 5 inches. Photo courtesy of the artist.
7. Aya Kakeda, “Hanabi Monster,” 2013. Silkscreen. 18 x 24 inches. Photo courtesy of the artist.
8. Aurélie Guillaume, “Philomène” (back view), 2015. Enamel on copper, sterling silver, fine silver, powdercoat. 7.5 x 21.5 x 2.1 cm. Photo by Jacob Mailman.
9. Aurélie Guillaume, “Philomène” (front view), 2015. Enamel on copper, sterling silver, fine silver, powdercoat. 7.5 x 21.5 x 2.1 cm. Photo by Jacob Mailman.
10. Aurélie Guillaume, “I Never Said I Was Perfect” (back view), 2015. Enamel on copper, fine silver, sterling silver, stainless steel, powdercoat, Zirconium. 11.5 X 9.5 X 2 cm. Photo by A. McLean.
11. Aurélie Guillaume, “I Never Said I Was Perfect” (front view), 2015. Enamel on copper, fine silver, sterling silver, stainless steel, powdercoat, Zirconium. 11.5 X 9.5 X 2 cm. Photo by A. McLean.
12. Aurélie Guillaume, “Crushed” (back view), 2017. Enamel on copper, fine silver, sterling silver, opals, CZ, brass, glass, stainless steel, glitter. 6.5 X 6 X 2 cm. Photo by A. McLean.
13. Aurélie Guillaume, “Crushed” (front view), 2017. Enamel on copper, fine silver, sterling silver, opals, CZ, brass, glass, stainless steel, glitter. 6.5 X 6 X 2 cm. Photo by A. McLean.
14. Aurélie Guillaume, “Barbe Mauve” (back view), 2015. Enamel on copper, sterling silver, fine silver, 24K gold, powdercoat, steel, microglass beads. 9.5 x 12 x 2 cm. Photo by Jacob Mailman.
15. Aurélie Guillaume, “Barbe Mauve” (front view), 2015. Enamel on copper, sterling silver, fine silver, 24K gold, powdercoat, steel, microglass beads. 9.5 x 12 x 2 cm. Photo by Jacob Mailman.