Opening Reception
Friday, November 15, 5:30 – 7:00 PM

Houston Center for Contemporary Craft (HCCC) is pleased to present Detritus, on view November 15, 2013 – January 26, 2014, in the Artist Hall. With material investigation as the foundation of their practices, artists Kat Cole, Laritza Garcia, Tara Locklear and Chesley Williams have constructed objects of adornment that employ found elements, remnants of industrial products, and other alternative non-precious materials that carry meaning and hint at a purpose. By observing their environments and taking up the practice of collecting, these artists have created inspiring jewelry and headwear that contain a gritty richness reminiscent of urban and industrial landscapes. Incorporating detritus and evidence of human inhabitance, the works possess an artifact-like quality that not only presents a reinterpretation and re-contextualization of ubiquitous materials but also allows the viewer to consider what the source materials reveal about contemporary society.

In line with the concept-driven field of contemporary jewelry, in which the use of materials, skills and compositions are applied to explore ideas, Kat Cole’s work and methodology are a means for her to actualize a connection to her surroundings. Cole has lived in eight different states over the past 10 years, adjusting to and appreciating the diverse natural, industrial, and cultural landscapes of each location. Through the examination of architecture, industrial structures, and their inherent histories, along with scouting for objects to incorporate into her jewelry, she actively seeks out personal and tangible ways to link each art object to its place of origin.

Raised in the South Texas Border region, where the influence of a vibrant Mexican culture is pervasive, jeweler Laritza Garcia’s work is inspired by her attraction to the physical presence of color in the world around her. The brilliant oranges, blues and pinks that cover facades of buildings in this locale are palpable in her expressive color pallet. With a desire to convert two-dimensional graphics into wearable configurations, Garcia begins her process by creating loose gestural illustrations from inks and calligraphy brushes.  From there, she layers bold colors and graphic lines evocative of street art and graffiti and, with an understanding of the mood-elevating effects of color, she creates jewelry to bring a sense of whimsy to the landscape of the body.

Asking her viewers to reevaluate their conventional notions of preciousness and value, Tara Locklear incorporates everyday materials, such as wood, concrete, and glass, into her jewelry.  She also repurposes fragments of skateboard decks in some of her pieces. The incorporation of this unique material was inspired by a community of friends with a reverence for the urban sport and a desire to give the decks, laced with sentimental value, new life. The colors and graphics of the boards spark a vision of a skateboarder’s utopia, a concrete jungle filled with vivid and eye-catching graphics. Locklear’s exploration of traditional jewelry forms and her affinity for costume jewelry of the 1940s and ‘50s serve as inspiration for the visual format used to illustrate her concepts.

The accumulation and transformation of mundane objects is a fundamental component of Chesley Williams’ artistic practice of creating innovative headwear. With the D. I. Y. (Do-It-Yourself) social movement and high fashion as inspiration, Williams creates works of art that push the boundaries of traditional design with her use of materials and techniques. Her process begins with the accumulation of materials—from donations, recycling centers and thrift stores—which are then transformed into raw materials through deconstruction. Clustering, grouping and building with these materials, she creates sculptural forms that serve as bold and beautiful reminders of the layers of daily waste generated within urban environments. By including fragments of consumer products (for example, headphones, used for structural support) and incorporating traditional textile methods of weaving, stringing, tying, stitching, and wrapping, Williams’ avant-garde head adornments present a highly imaginative approach to recycling.

Detritus was curated by Ashley Powell, Curatorial Assistant at Houston Center for Contemporary Craft.

Above: (1) Kat Cole, Assemblage X Necklace, 2013. Found objects, brass, sterling silver, steel. Photo by Kat Cole. (2) Kat Cole, “Box Bracelet,” 2010. Tin, copper. Photo by Kat Cole. (3) Kat Cole, “Crushed Box Earrings,” 2013. Tin, found object, sterling silver. Photo by Kat Cole. (4) Kat Cole, “Cole-Remnants of Sandy #2″, 2013. Found objects, brass, steel. Photo by Kat Cole. (5) Laritza Garcia, “Interchange Brooches,” 2013. Copper, powder coat, steel, sterling silver. Photo by Laritza Garcia. (6) Laritza Garcia, “Roundabout Necklace,” 2013. Steel, copper, brass, powder coat. Photo by Laritza Garcia. (7) Laritza Garcia, “Urban Scrawl Necklace,” 2013. Copper, steel, brass, sterling silver, powder coat. Photo by Laritza Garcia. (8) Tara Locklear, “Concrete Costume Cluster Necklace 1,” 2011. Cement, steel, faux gold leaf. Photo by Tara Locklear. (9) Tara Locklear, “Drop Deck Studded Bangle,” 2012. Recycled skateboards, sterling silver, brass, pigment. Photo by Tara Locklear. (10) Tara Locklear, “Iconic Interpretation Brooch,” 2012. Cement, reclaimed glass, sterling silver, faux gold leaf. Photo by Tara Locklear. (11) Tara Locklear, “Unbridled Royalty Necklace,” 2011. Cement, reclaimed glass, sterling silver. Photo by Tara Locklear. (12) Chesley Williams, “Untitled,” 2013. Electrical tape, plastic roofing caps, eyelets, foam flex, and vinyl. Photo by Meghan Nicole. (13) Chesley Williams, “Untitled,” 2013.  Electrical tape, plastic, brass jump rings, metal mesh, brass chain and thread. Photo by Meghan Nicole. (14) Chesley Williams, “Untitled,” 2013. Fabric, plastic, machine screws, chain, headphones. Photo by Meghan Nicole. (15) Chesley Williams, “Untitled,” 2013.  Components removed from floppy disks, latex bands, fabric and found objects. Photo by Meghan Nicole. (16) Chesley Williams, “Untitled,” 2013.  Zippers, electrical tape, foam flex, nickel plated split rings, metal u-locks, and deconstructed headphones. Photo by Meghan Nicole.

Opening Reception
Friday, October 4, 5:30 – 8:00 PM
5:30 PM – Artist Talk by Tybre Newcomer (The Maker’s Archive)
5:45 PM – Curators’ Talk by Susie J. Silbert and Anna Walker (SPRAWL)
Open Studios by Current Resident Artists (to follow artist talks)
The opening will also feature SPRAWL, in the Main Gallery.

Houston Center for Contemporary Craft (HCCC) is pleased to present The Maker’s Archive: Works by Tybre Newcomer, on view October 4, 2013 – January 19, 2014. Featuring large sculptural work and intimate wall pieces, Newcomer’s ceramic installation captures the transcendental relationship between craftsmen and their tools, transforming HCCC’s front gallery into both archive and pilgrimage site. The exhibition debuts an entirely new body of work that builds on the artist’s established fascination with tools, their histories, and the craftsmen that use them. Speaking directly to the endangerment of professional craft practices, Newcomer honors the field through his life-sized re-creations of workspaces and his construction of gilded niches, displaying tools like religious icons.

Kathryn Hall, HCCC Curatorial Fellow, commented: “By presenting the tool as a devotional object and contextualizing the maker’s workspace as sacred, Newcomer sheds light on this indescribable relationship between makers and their tools. As a site of reverence, the exhibition creates a spiritual environment that translates the personal and intimate experience of the craftsman in a manner that is relatable to a broader audience. Like relics, the tools are a source for enlightenment, praise, and devotion.”

Through the plasticity of his medium, Newcomer harnesses the tactile essence of each craft, educating his audience about the metaphysical experience of working with one’s hands. Based on personal interviews with various makers–including a blacksmith, a woodworker and a gaffer—he sheds light on the ritualistic nature of process. As an artifact, each object represents a set of valuable techniques that have been passed down for generations. Like an altar, the austere form of the ceramic anvil in Journeyman hallmarks the pivotal role of the tool that functions as a stable and receptive stage for the blacksmith’s hammer.

Similarly, the artist’s wall pieces, such as Reverance, pay homage to a late-19th-century tool chest made by piano maker, H. O. Studley. This American artifact is exemplary of a craftsman’s reverence for his tools. Designed to hang on the wall, Studley’s tool chest housed nearly 300 tools, some antique and some handmade. Borrowing from the ornamentation of Gothic cathedrals, the piano maker custom designed individual cubbies and niches for each tool. Hanging in succession, along the walls of the gallery, Newcomer’s pieces reference Studley’s design, and, like niches punctuating the interior space of a temple, frame tools in a gesture of respect and devotion.

Tybre Newcomer is a full-time lecturer at Central Michigan University, where he teaches 3D design and ceramics courses. Previously a resident of Wichita Falls, TX, he taught ceramics at Midwestern State University and was an artist-in-residence in 2012. In the past year, his work has been featured in the 2013 National Council on Education for the Ceramic Arts (NCECA) Biennial and CraftTexas 2012, both exhibited at HCCC.

The Maker’s Archive was curated by Kathryn Hall, Curatorial Fellow at HCCC.  With this exhibition, HCCC is pleased to be a participating organization in the 2013 Texas Biennial.  The Biennial is an independent survey of contemporary art in Texas founded to create an exhibition opportunity for all artists living and working in the state. In the fall of 2013, the Biennial celebrates its 5th anniversary with a range of exhibitions and other programming at venues in Austin, Dallas, Houston, Marfa and San Antonio. For more information, visit www.texasbiennial.org/ .

Above: (1) Tybre Newcomer, Reverence. Ceramic, gold leaf, vintage Stanley #9 block plane. 2013. Photo by John H. Clarke. (2 – 4) Tybre Newcomer, Journeyman. Ceramic. 2013. Photo by John H. Clarke.

Opening Reception
Friday, August 2, 5:30 – 7:00 PM
A few of the artists will discuss their work
during an informal artist talk at 5:30 PM.

Houston Center for Contemporary Craft (HCCC) presents In Residence, an exhibition of work created by the eight artists who began their residencies at HCCC in 2012: Tarina Frank, Chanda Glendinning, Susan Fletcher King, Jessica Kreutter, Susannah Mira, Jaydan Moore, Robert Thomas Mullen, and Rachelle Vasquez.

Each fall, the In Residence exhibition celebrates work by resident artists, derived from or inspired by their residencies at HCCC. This exhibition demonstrates the high level of creativity and skill reflected in each resident artist’s work. While engaging the greater world of contemporary craft, the HCCC Artist Residency Program gives its selected resident artists a studio space within an environment that encourages collaboration, experimentation, and a forum in which to exchange ideas and receive advice from peers.

Tarina Frank is a Houston-based artist and certified high-school art teacher working primarily in metals and paper. Begged to be touched, Tarina’s jewelry pieces are for a hands-on society. The series, Paper Fan Rings, reflects her interest in jewelry and mechanisms:  each ring’s revolving axis sparks kinetic potential. Following her HCCC residency, Tarina will move to Stockholm, Sweden, where she will pursue an MFA degree at Konstfack University.

Ceramist Chanda Glendinning’s work, made during her residency, addresses concepts of disposability within our society. Composed of glossy slip-cast porcelain components derived from a found object, orange construction barrier, and carpet, her installation rids everyday materials—industrial and domestic—of their original functions, allowing them to be seen as design products. Engaging within this theme, Chanda’s installation, This: One: Here, was first introduced in a show at Spring Street Studios (Houston, TX), held in conjunction with the 2013 NCECA Conference.

Susan Fletcher King is a Houston-based fiber artist who has branched out from traditional quilting. Calling upon her background in graphic design and illustration, she mixes her quilted imagery with additional media, such as paint, dyes, specialty threads and embellishments, to give an edge to her illustrative quilt art.  Inspired by a diverse range of flora and fauna, King captures an invigorating semblance of the organisms she depicts through her assemblage style.

Jessica Kreutter is a ceramist who works with discarded objects. Representative of her oeuvre, Interior Growth encapsulates the ideas of loss, memory and their transformation through time. According to Kreutter, traces of use and decay hold time in suspension and connect the found object to memories of a body long gone. Realizing this fragile moment via clay material, Kreutter imagines what materializes from the residual shadows of what has been lost and the fragmented phantom body that remains bound to the object. As a combination of flesh, bone, animal, and nature, the clay body begins to invent itself, as it both absorbs and imitates its surroundings.

With a master’s degree in environmental art from the University of Art & Design Helsinki, Susannah Mira utilizes manufacturing sidestream to create intricate geometric constructions that give form to notions of progress.  Mira’s work relies on massive quantities of discarded industrial items, such as fabric, foam, paper, and plastic. (Note:  Mira will have a solo exhibition, Room Divider, concurrently on view at Lawndale Art Center, Houston.)

As a recent MFA/MA graduate of University of Wisconsin-Madison’s jewelry and metal arts program, Jaydan Moore focuses on the heirloom and its potential to evolve in meaning as the object moves through the world. By collecting found silver-plated tableware, Moore commemorates the history of each found silver object by printing the recto and verso of each platter, highlighting the markings of its wear. Reifying memories embedded within each of the found platters, tea services, and silverware, Moore deconstructs and marries their decorative patterns.  His process and sculptural silver-plated pastiche reveals the value and memories projected onto these objects via individual ownership and use. This fall, Moore will move to Richmond, VA, to accept a yearlong Fountainhead Fellowship at Virginia Commonwealth University.

Metalsmith Robert Thomas Mullen draws inspiration for his jewelry from his cultural and environmental surroundings, ultimately interpreting his memories in tangible form. Working with native and exotic woods, Robert incorporates a breadth of found objects—everything from shattered windshields to animal teeth to a calcareous growth taken from a feeding tank at the Houston Zoo—as souvenirs. The brooches featured in this exhibition focus on the objects and memories he has collected while living in Houston and working at HCCC; each brooch has a unique and memorable narrative tied to it. This fall, Mullen will travel to Estonia to work with jewelry artist and mentor, Tanel Veenre.

Rachelle Vasquez is a Houston-based artist and certified art teacher who works primarily in the fiber arts. She picked up crocheting on a whim in 2006, and it quickly came to feel like a natural extension of herself. While heavily process driven, Vasquez’s recent work stems from her research and historical interests relating to the heroism of animals during times of war, as well as the memories of her former pets. Through elaborate tapestries and crocheted representations of animal skins, Vasquez memorializes animals, humanizing them in a way that distinguishes their identities.

(1) Tarina Frank, “Paper Fan Rings.” Silver, nickel, brass, paper, copper. 2011. Photo by Tarina Frank. (2) Chanda Glendinning, “This: One: Here.” Porcelain, construction barrier, carpet. 2013. Photo by Chanda Glendinning. (3) Chanda Glendinning, “This: One: Here” (detail). Porcelain, construction barrier, carpet. 2013. Photo by Chanda Glendinning. (4) Susan Fletcher King, “Schooling Through the Jellies.” Commercial and hand painted cotton fabric, silk and cotton threads, transparent acrylic paints, foil, various other yarns and embellishments. 36” x 48”. 2011. Photo by Rick Wells.(5) Jessica Kreutter, “Interior Growth.” Porcelain, abandoned object. 2011. Photo by Jessica Kreutter. (6) Jessica Kreutter, “Interior Growth” (detail) Porcelain, abandoned object. 2011. Photo by Jessica Kreutter. (7) Jessica Kreutter, “Interior Growth” (detail) Porcelain, abandoned object. 2011. Photo by Jessica Kreutter. (8) Susannah Mira, Installation component. Laser cut plywood. 2013. Photo by Susannah Mira.(9) Susannah Mira, Installation component. Laser cut plywood. 2013. Photo by Susannah Mira. (10) Jaydan Moore, “Sediment/Sentiment” (detail). Found materials. 2012. Photo by Jim Escalante. (11) Robert Thomas Mullen, “How I See/Saw Houston” (front). Texas ebony, brass, cubic zirconia. 2012. Photo by Robert Thomas Mullen. (12) Robert Thomas Mullen, “How I See/Saw Houston” (back). Texas ebony, brass, cubic zirconia. 2012. Photo by Robert Thomas Mullen.(13) Rachelle Vasquez, “When Winkie Comes Marching home” (detail). Photo courtesy the artist. (14) Rachelle Vasquez, “When Winkie Comes Marching home” (detail). Photo courtesy the artist.

Opening Reception
Friday, May 31, 5:30 – 8:00 PM
Artist Talk at 5:30 PM
The opening will also feature The Tool at Hand, in the large gallery; Ctrl + P, in the small gallery; and open studios by HCCC’s current resident artists from 6:00 – 7:00 PM. Beer sponsored by Karbach Brewing Co.

Houston Center for Contemporary Craft (HCCC) presents The Ornamental Plumb Bob, a solo exhibition of objects and brooches by San Antonio metalsmith, Gary Schott. Stemming from his 2011 series of brooches, Schott’s new body of work continues to explore the plumb bob, a tool used by many craftspeople to denote a vertical line of reference.

Historically, craftspeople throughout Europe, North America, and the Middle East have designed a wide range of elaborate and unique plumb-bob weights. Dating back well before the age of the guilds, plumb bobs were created in all different sizes, materials, and shapes, from fruit to nautical designs. Based on the identification of materials and forms, collectors have traced certain plumb bobs to the time period and region in which they were created. Gary Schott’s works are an extension of this longstanding tradition.

Adorning the wall and the body respectively, Schott’s large-scale objects and human-scale brooches serve a functional purpose, while also calling attention to their ornamentation. Like much of his previous work, Schott infuses these pieces with mechanical and interactive qualities. When suspended from a wall or body, each plumb bob becomes interactive through its kinetic potential, while establishing the vertical axis of the wall or wearer.  At the same time, the decorative plaques placed behind the objects direct the viewer’s attention to the geometric weights and lustrous materials of the plumb bobs.  The pieces boast lathe-turned wooden weights that dangle from sumptuous, red brass fixtures, like ornaments on a tree.

By highlighting both aesthetics and function, Schott’s work subverts the popular home-decorating trend that incorporates antique objects into the home as nonfunctional décor. According to Schott, “Today, one has to look only as far as Ebay or Etsy to notice how objects of yester-year are collected and coveted by a great portion of the population as wonderful objects. These objects decorate our shelves and interior spaces, often leaving them unused or removed from their original context.”  Through this exhibition, Schott brings new life to an object that is considered a valuable antique by many collectors.

Gary Schott currently resides in San Antonio, TX, where he is Chair of the Jewelry/Metals Department at the Southwest School of Art. Originally from Green Bay, Wisconsin, Schott holds a BFA from the University of Wisconsin-Stout and a MFA from the University of Illinois at Urbana-Champaign.  Schott’s work has been exhibited widely throughout Texas, the U.S. and abroad. In 2010, Schott’s piece, Eskimo Kisser, received an Award of Merit in HCCC’s biennial juried exhibition, CraftTexas 2010.

The Ornamental Plumb Bob was curated by Kathryn Hall, HCCC Curatorial Fellow.

Above: (1) Gary Schott, “Plumb Bob no. 2.” Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist. (2) Gary Schott, “Plumb Bob no. 2” (detail). Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist. (3) Gary Schott, “Plumb Bob no. 2” (detail). Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist. (4) Gary Schott, “Plumb Bob no. 1.” Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist. (5) Gary Schott, “Plumb Bob no. 1” (detail). Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist. (6) Gary Schott, “Plumb Bob no. 1” (detail). Red brass, cord, wood, paint, patina. 38” x 4.5” x 6”. 2013. Photo by the artist.

Opening Reception
Friday, April 5, 5:30 – 7:00 PM

Houston Center for Contemporary Craft (HCCC) is pleased to present Reminiscential, on view April 5 – May 26, 2013, in the Artist Hall.  With the investigation of memory, remembrance and the materialization of these ideas as a common thread, artists Clare Finin, Rebecca Drolen, Robert Thomas Mullen and Deme Wolfe-Power have created distinctive works that pay homage to the rich history of memento mori objects and Victorian sentimental and mourning jewelry. Through the use of materials often regarded as repulsive or grotesque, many works in the show ask viewers to reevaluate and challenge their conventional notions of beauty.

HCCC Curatorial Assistant, Ashley Powell, who curated the show, was captivated by the work: “Objects made to remember someone, something, or sometime are what we use as tangible reminders of the most valuable and ephemeral possessions that make us who we are as individuals.  I was inspired by the ways in which these four artists so uniquely materialize their inner thoughts and emotions.”

The jewelry pieces of photographer and mixed-media artist, Rebecca Drolen, present a contemporary interpretation of Victorian sentimental jewelry through the use of human hair, photos, and the intimate nature of lockets and brooches.  Sentimental objects containing the hair of a loved one were ubiquitous during that era and served as secular relics and material reminders of moments of loss. (By being worn on the body of the bereaved, these objects were thought to keep the deceased close, as well as wordlessly communicate the person’s loss to others.) Not only does Drolen’s work cleverly comment on these historical pieces, it explores the line between the beautiful and grotesque.

Also drawing inspiration from the use of hair in Victorian sentimental jewelry, Clare Finin creates work using her own hair as thread. She plays on the material’s inherent nostalgic qualities to explore her own history, memories, and the effects these moments had on her life decisions. With hair, imperishable in nature, she employs domestic techniques—rope making, embroidery, crocheting and lace tatting—that were once commonly practiced in her family.  In her piece, Learning a Tradition, Finin repaired a tattered doily from a great Aunt, and by learning the same technique her relative used, felt more deeply connected to her family.

The work of Deme Wolfe-Power is clearly evocative of memento mori objects, which appeared sometime in the 16^th century and never quite disappeared. (Memento mori is a Latin phrase that translates to “Remember your mortality” or “Remember you will die.”  These objects, which often used skull motifs, human hair and dead animals, generally did not refer to a specific person but served as a reminder of the transitory nature of life.)  Wolfe-Power uses this genre to create unforgettable jewelry with the intention of questioning contemporary perceptions of beauty.   Her work juxtaposes precious and semi-precious metals and stones typically used for adornment with materials often seen as repulsive—human teeth, taxidermy bird anatomy, human hair and animal hides.  By pushing these boundaries, she firmly asks, “In what context does something that was natural or beautiful become repulsive?”

The work of metalsmith and photographer, Robert Thomas Mullen, examines the human tendency to collect items of sentimental value:  souvenirs from vacations, jewelry from mothers and grandmothers, and other tokens that provide proof or clues to a memory or a person’s existence. By incorporating an array of found objects with personal meaning, such as human teeth and hair, animal fur, and insects, Mullen makes highly individual brooches that reference historical sentimental objects. Each piece is suffused with nostalgia, telling a special story and serving as a visual archive of his memories and time spent in different locations.

(1) Rebecca Drolen, “Chin Hair.” Photograph, found object, hair. 2012. Photo by Rebecca Drolen. (2) Rebecca Drolen, “Spiral.” Photograph, found object, hair. 2012. Photo by Rebecca Drolen. (3) Rebecca Drolen, “Tweezings.” Photograph, found object, hair. 2012. Photo by Rebecca Drolen. (4) Clare Finin, “Fractures.” Family porcelain, human hair. 2012. Photo by Abby Johnson. (5) Clare Finin, “Learning a Tradition.” Family heirloom, human hair. 2012. Photo by Abby Johnson. (6) Clare Finin, “Place Setting #1.” Linen placemat, human hair. 2012. Photo by Abby Johnson. (7) Robert Thomas Mullen, “Fossil/Matrix Brooch #11.” Copper, resin, human tooth, bronze, quartz. 2012. Photo by Robert Thomas Mullen. (8) Robert Thomas Mullen, “Fossil/Matrix Brooch #18.” Cherry, resin, fish vertebrae, driftwood, steel, pearls. 2012. Photo by Robert Thomas Mullen. (9) Robert Thomas Mullen, “Fossil/Matrix Brooch #22.” Oak, resin, deer tooth, fossilized amber, bee. 2012. Photo by Robert Thomas Mullen. (10) Robert Thomas Mullen, “Fossil/Matrix Brooch #26.” Copper, wool, powder coating, pearls. 2012. Photo by Robert Thomas Mullen. (11) Deme Wolfe-Power, “Crows feet necklace.” Oxidized White metal , black CZ’s, Crows foot. 2012. Photo by Deme Wolfe-Power. (12) Deme Wolfe-Power, “Frame Series- Mouse skin brooch.” Oxidized White metal (silver), 18k gold, black CZ’s, steel pin, Mouse fur and tail. 2012. Photo by Deme Wolfe-Power.

Opening Reception
Friday, October 4, 5:30 – 8:00 PM
5:30 PM – Artist Talk by Tybre Newcomer (The Maker’s Archive)
5:45 PM – Curators’ Talk by Susie J. Silbert and Anna Walker (SPRAWL)
Open Studios by Current Resident Artists (to follow artist talks)

The opening will also feature The Maker’s Archive, in the Front Gallery

To read the SPRAWL Catalog, click here.

With its soaring expressways and seemingly endless geography, little defines Houston in the public consciousness more than urban sprawl. This fall, Houston Center for Contemporary Craft (HCCC) takes on the implications of this development pattern in the national exhibition, SPRAWL. Co-curated by former HCCC Curatorial Fellow, Susie J. Silbert and former HCCC Curator, Anna Walker, SPRAWL features 16 emerging and mid-career artists whose works deal with the urban landscape.

Arranged in three sections, “Infrastructure of Expansion,” “Survey, Plan, Build,” and “Aftereffects,” which loosely define the phases of urban growth, the exhibition is intended to present a non-polemical view. As Silbert and Walker commented, “The topic of sprawl can be a lightening rod—depending on who you talk to, it can evoke visions of cookie-cutter houses and inefficient city planning or it can inspire discussions on freedom of choice and affordable housing. We wanted to harness that complexity to create an exhibition that looks at the totality of sprawl—the good, bad, and the ugly.”

An example of this ambivalence can be seen in Yesterday’s Tomorrow, an expansive piece by ceramic artist, Dylan Beck, comprised of wood shims, plastic, and clay. In it, a shimmering column of silvery plastic gridding and brilliant blue—a simulacrum of a glass and steel skyscraper—juts up next to an ornate ogee of grouted terracotta cornices. Read from one angle, it can be seen as a symbol of upheaval, of old making way for new. From another, it represents the aesthetic dynamism of a postmodern city, incorporating diverse styles and historical periods into a cohesive whole.

Norwood Viviano takes a more analytical approach to the topic of expansion in his installation, Cities: Departure and Deviation. Borrowing a page from architects and urban planners, the artist analyzed statistical data from 24 urban centers in the United States to create digital renderings charting their population growth and/or decline. Viviano used these renderings to create precise three-dimensional models in pristine shades of black, white and transparent grey glass that hang like plumb bobs—a further reference to processes of construction and growth. The overall effect is clinical, though the precarious nature of the material hints at an underlying fragility.

Kathryn Clark’s Foreclosure Quilts are also grounded in data, though their presentation is anything but clinical. With their minimal geometric patterns, subdued tones and scrappy appearance, Clark’s pieces incorporate the human touch of textile to make the pain of the housing crisis palpable. Using a specificity forged in years spent as an architect and urban planner, Clark translates data from the hardest hit sections of each city into layers of color, even cutting out sections to represent foreclosed properties, to create pieces such as Detroit, Chicago, and Cape Coral.

In addition to the works on site, SPRAWL will incorporate two additional types of programming. The first is a series of walking tours, featuring craft in the suburbs of Houston, by artist Carrie Schneider as part of her project, Hear Our Houston.* The second is HCCC’s inaugural speaker series, designed to provide a forum for Houston’s rich dialogue on urban development.

*Carrie Schneider’s “Hear Our Houston” installation was made possible with funding from Virginia Sudela.

SPRAWL Featured Artists

SPRAWL Speaker Series

All talks will take place at Houston Center for Contemporary Craft.
Click here to read the speakers’ bios.

Infrastructure of Expansion

• October 18, 12:00 – 1:00 PM
  Ed Emmett, Harris County Judge

• October 24, 6:00 – 7:00 PM
  Thomas Colbert, Associate Professor at the Gerald D. Hines College of Architecture, University of Houston
  Susan Rogers, Director of the Community Design Resource Center and Assistant Professor at the University of Houston’s College of Architecture

Survey, Plan, Build

• November 6, 6:00 – 7:00 PM
  Brian Crimmins, City of Houston Planning & Development Chief of Staff

• November 7, 6:00 – 7:00 PM
  Houston Urban Development & Improvement Panel
  David Crossley, President of Houston Tomorrow
  Peter Brown, Director of Better Houston
  Diane Schenke, President of Greater East End District

Aftereffects

• December 17, 6:00 – 7:00 PM
  Sara Zewde, M. L. A. Candidate, Harvard University Graduate School of Design

• January 9, 7:00 – 8:00 PM
  Carrie Schneider, Houston Artist

The SPRAWL Speaker Series was made possible in part through the City’s Initiative Grant Program of the Houston Arts Alliance.

Above: (1) Dylan Beck, “Cardiac.” Bisque porcelain, vinyl. 2009. Photo by Dylan Beck. (2) Kathryn Clark, “Cape Coral Foreclosure Quilt.” Recycled bleached linen, recycled string and quilting thread. 2011. Photo by Kathryn Clark. (3) Kathryn Clark, “Chicago Foreclosure Quilt.” Linen, cotton and embroidery thread. 2013. Photo by Kathryn Clark. (4) Kathryn Clark, “Detroit Foreclosure Quilt.” Cheesecloth, linen, cotton and embroidery thread. 2011. Photo by Kathryn Clark. (5) Béatrice Coron, “Chaos City.” Cut Tyvek. 2010. Photo by Etienne Frossard. (6 & 7) Dustin Farnsworth, “Looming Genes and Rooted Dreams.” Reclaimed bead board, MDF, plywood, aluminum, poplar, mild steel, plexiglass, soil, concrete, various polychrome. 2009. Photo by Peter McDaniel. (8) Nancy Nicholson, “Construction #3.” Blown glass, lead, vitreous paints. 2008. Photo by Nancy Nicholson. (9) Nancy Nicholson, “Construction #4.” Blown glass, lead, vitreous paints. 2008. Photo by Nancy Nicholson. (10 & 11) Paul Sacaridiz, “An Incomplete Articulation.” Ceramic, wood, powder coated aluminum, cut vinyl, board. 2011. Photo courtesy of the Denver Art Museum. (12 & 13) E. Ryan Simmons, “Immobile Trailers.” Fabricated steel, rust, paint, wax. 2009. Photo by E. Ryan Simmons. (14) Norwood Viviano, “Cities: Departure and Deviation (Atlanta to Los Angeles Detail).” Blown glass and vinyl cut drawings. 2011. Photo by Cathy Carver. (15) Norwood Viviano, “Cities: Departure and Deviation (Indianapolis to Los Angeles Detail).” Blown glass and vinyl cut drawings. 2011. Photo by Cathy Carver. (16 & 17) Dane Youngren, “High Rise.” Ceramic, wood crate, steel. 2011. Photo by Dane Youngren.

Opening Reception
Friday, May 31, 5:30 – 8:00 PM
The opening will also feature The Tool at Hand, in the Large Gallery, The Ornamental Plumb Bob in the Artist Hall,as well as open studios by HCCC’s current resident artists from 6:00 – 7:00 PM.
Beer sponsored by Karbach Brewing Co.

Recent economic reports speculate that a third industrial revolution, shaped by digital technologies, is underway. This summer, Houston Center for Contemporary Craft (HCCC) investigates the implications of such technologies on the making of sculptural and functional objects in the 21^st century.  Ctrl + P, on view May 31 – September 8, in the small gallery, features work by several contemporary artists who use open-source programs and 3D printers to conceptualize and create in revolutionary ways.

Using digital technology as a tool to create is not new to all artists, but only in recent years have open-source programs, computer-aided design programs and 3D printers become more available and affordable to the average maker.  HCCC Curator, Anna Walker, is eager to present work that shows the potential of using such technologies.  Walker explains, “By sourcing their designs from online creative commons, the artists featured in Ctrl + P question issues of shared authorship, decentralization of labor, and the possibility of making entire industries available to the individual. Given that the late 20^th century, in many ways, emphasized and celebrated the role of the individual maker, Ctrl + P explores how these technologies will contribute to the widespread embrace of communal authorship in the future.”

Created in 2007 by Erin Gardner and Margaret Drinkwater, The Opulent Project is a collective of metal and jewelry artists working in Portland, Oregon.  For their Digital Ring project, the collective created contemporary jewelry from found digital designs.  First collecting existing ring designs from a Google 3D warehouse, the artists altered the files to make the jewelry functional and, using the 3D printer, produced wearable rings made from gold-plated stainless steel and silver.  The end products, looking like playful imitations of traditional gemstone rings, cleverly raise questions about commercial jewelry and luxury objects.

For Ctrl + P, ceramic artists Bryan Czibesz and Shawn Spangler revisited a previous collaboration, Mapping Authorship, which was exhibited at the 2012 NCECA (National Council on Education for the Ceramic Arts) Conference in Seattle, Washington.  For the re-imagined project at HCCC, the artists selected several virtual objects to be printed by Shapeways (a 3D-printing marketplace and online community).  Working in different parts of the country, each artist interacted with the virtual objects in different ways—Czibesz used digital manipulation and 3D printing, while Spangler created ceramic versions of the forms by hand.  The resulting works include a combination of digital renderings, 3D printed objects and handmade ceramic works that comment on the endless possibilities available to artists who use such an approach to creating.

In order to create a 3D object, one must first plot points onto the infinite space of an XYZ axis.  Ceramic artist Stacy Jo Scott equates this process to mapping a system onto the unknown.  Using the stars and vastness of outer space as her inspiration, Scott has gathered data from the open-source planetarium software, Stellarium, to create 3D interpretations of constellations. Currently in the design stage, the project will realize her poetic vision, which is to manifest in material form that which is virtual and ideal, as it draws a direct link between digital space and outer space.

First conceived in Lubbock, Texas, in 2007, The Ryder Jon Piotrs Nomadic Gallery was developed by Ryder Richards, Jonathan Whitfill, and Piotr Chizinski as a community outreach effort and alternative form of arts presentation. With an open-source platform, the artists created the RJP 2.0 Gallery Kit, which includes downloadable designs of gallery infrastructure—walls, fixtures and more—so that individuals can convert any Ryder rental truck into a moving gallery space.  Ctrl + P features a built version of this structure.

As an educational component of the exhibition, HCCC will host a working FDM-based (Fusion Deposition Modeling) 3D printer on loan from TX/RX Labs, a nonprofit hackerspace in Houston. The printer will continuously print plastic manifestations of digital creations during viewing hours.  This is the first of many 3D printers that TX/RX Labs is creating and donating to schools in the Houston area as part of its SchoolBOT project, which seeks to increase science and technology interest among children and adults.  For more information about the printer, its underlying technology, and TX/RX’s nonprofit mission, visit www.txrxlabs.org/schoolbot.

About 3D Printers & Creative Commons

The 3D printers used by artists in this exhibition work similarly to desktop printers. An artist creates a digital file of an object and then prints it. However, instead of adding ink to paper, the 3D printer adds very small layers of materials, such as plastic, metal or clay, line by line, to build an object. For the purposes of this exhibition, the 3D printers employed by the artists are the more common and accessible desktop printers and not the more advanced versions used for industry.

Creative commons are online resources that exist for individuals to share their designs. These spaces of shared authorship decentralize labor, allow multiple authors to work on a single design, and can potentially make entire industries available to the individual. The artists in Ctrl + P embrace the ethos that shared authorship is of great benefit to the creative process.

(1) Bryan Czibesz and Shawn Spangler, “Aerial: Remarks on the History of Things.” Porcelain, glaze, overglaze. 2011-2012. Photo by Czibesz and Spangler. (2) Bryan Czibesz and Shawn Spangler, “Mapping Authorship.” Digital video and rendering stills. 2012. Photo by Czibesz and Spangler. (3) Bryan Czibesz and Shawn Spangler, “Precis: A Mute Declaration.” Porcelain, earthenware, SLS and FDM printed plastic, engineered wood, steel, vinyl. 2012. Photo by Czibesz and Spangler. (4) Bryan Czibesz and Shawn Spangler, “Tectonics and Dross: Remarks on the Future Archaeology of Objects.” Porcelain, CNC-cut urethane foam, acrylic, stainless steel. 2013. Photo by Czibesz and Spangler. (5) Bryan Czibesz and Shawn Spangler, “Tectonics and Dross: Remarks on the Future Archaeology of Objects.” Digital rendering. 2013. Photo by Czibesz and Spangler. (6) The Opulent Project, “Digital Rendering of Digital Ring Model.” Digital rendering of virtual model. Open source image via Google. (7) The Opulent Project, “Silver Digital Ring.” 3D printed wax cast in sterling silver. Photo by Richard Gehrke. (8) The Opulent Project, Digital Ring. 3D printed stainless steel, gold-plated. Photo by Richard Gehrke.

Opening Reception
Friday, May 31, 5:30 – 8:00 PM
The opening will also feature Ctrl + P, in the small gallery, The Ornamental Plumb Bob in the artist hall, as well as open studios by HCCC’s current resident artists from 6:00 – 7:00 PM.
Beer sponsored by Karbach Brewing Co.

This summer, Houston Center for Contemporary Craft (HCCC) is pleased to host The Tool at Hand, an exhibition that puts the skill and creativity of some of the most talented names in the contemporary art world to the test.

Organized by the Milwaukee Art Museum in collaboration with the Chipstone Foundation and curated by Ethan W. Lasser (then Curator of the Chipstone Foundation and now the Margaret S. Winthrop Associate Curator of American Art at Harvard Art Museums), The Tool at Hand brings together artworks resulting from an unusual and slightly eccentric experiment. In the spring of 2011, the Chipstone Foundation invited 16 contemporary artists to participate in the Object Lab, the foundation’s progressive and experimental arm, to make a work of art with one tool alone. The resulting exhibition features a variety of creative and witty artworks, presented together with images of the tools used to craft them and a short explanatory video produced by each artist.

The Tool at Hand features artists in varying stages of their careers who hail from both the U.S. and the U.K. Working in a variety of materials, including paint, metal, wood, glass, fiber, and clay, the artists range from those who work with non-traditional tools to those whose skill with traditional tools is in a class by itself. The former category includes makers like Liz Collins, whose performative work with the knitting machine has gained international attention, and Mark Lindquist, the renowned woodturner who developed a technique for coupling the chainsaw and the lathe in the 1980s. The latter category includes master tool users like the enamellist, Helen Carnac; the silversmiths David Clarke, Ndidi Ekubia and Lisa Gralnick; and the sculptor and woodworker Gord Peteran, whose recent work was featured in an exhibition that toured nine venues in the U.S. The Tool at Hand also presents work by three emerging makers, Chad Curtis, Michael Eden, and Tavs Jorgensen, who exploit the potential of new tools like the 3D printer and the CNC milling machine.

Ranging from the ancient to the high tech, the artists’ choice of tools was as diverse as their modes of expression. Silversmith Ndidi Ekubia used a hammer, and woodworker David Gates employed a saw, while ceramist Caroline Slotte used a box cutter, and Hongtao Zhou used his hands to melt wax for Burniture, a sculpted chair designed to melt from overuse.

For a group of artists who are accustomed to working with considerable tool kits, this commission presented an inspiring and thought-provoking challenge. The resulting exhibition showcases the wonder of the process of making and, at the same time, sparks an important conversation about the nature of skill, production, and tool use today.

The Tool at Hand will travel to museums across the United States, with destinations including The Philadelphia Art Alliance and the Museum of Contemporary Craft in Portland, Oregon.

Tool at Hand Featured Artists

(1) Ndidi Ekubia, “Connection Vase,” 2011. Silver. Photo by Stephen Brayne. (2) Tavs Jorgensen, “Glass Bowl,” 2011. Glass. Photo courtesy the artist. (3) Mark Lindquist, “Dowel Bowl,” 2011. Dowels and glue. Photo courtesy the artist. (4) Beth Lipman, “Gift Bowl,” 2011. Caulk. Photo courtesy the artist. (5) Hongtao Zhou, “Burniture,” 2011. Wax and tree branches. Photo courtesy the artist.

Opening Reception
Friday, January 25, 5:30 – 8:00 PM
The reception will also feature two other exhibition openings, the 2013 NCECA Biennial (large gallery) and Constructing Solitude (small gallery), as well as open studios by HCCC’s current resident artists from 6:00 – 7:00 PM. Beer sponsored by Karbach Brewing Co.

Artist Talks
Saturday, February 23, at 3:00 PM

Houston Center for Contemporary Craft (HCCC) is pleased to present Roughneck: A Juried ClayHouston Exhibition, featuring a variety of ceramic works by members of the local artist guild, ClayHouston. On view January 25 – March 30, 2013, in the Artist Hall, the show is one of many ceramic exhibits in the area coinciding with the National Council on Education for Ceramic Arts (NCECA) 47^th Annual Conference, taking place in Houston next spring, and the 2013 NCECA Biennial exhibition, also opening January 25 at HCCC.

Demonstrating fortitude of technical skill, Roughneck displays the high concentration of talent in the Southeast Texas area and showcases a range of ceramic processes. Through sculptural installations and functional tableware highlighting complex glazing techniques, each piece demonstrates a level of experimentation that yields surprising and eye-catching compositions and forms.

Selecting from 107 submissions by 38 artists, this year’s juror, former HCCC Curatorial Fellow, Susie J. Silbert, chose 16 works by 15 artists. Silbert stated, “The entries for the ClayHouston exhibition included some great work and exceptionally wonderful surprises—all of which served to making the jurying process for such a small space particularly difficult. In the end, I chose a selection of works that seemed to mutually reinforce a theme of gritty richness that speaks not only to the contemporary moment of ceramic activity in Houston, but also to NCECA’s overall conference theme of Earth/Energy.”

Founded in 2005, ClayHouston is a nonprofit guild for potters and sculptors, teachers and students, and professionals and amateurs who create with clay in the Greater Houston and Southeast Texas area. The organization’s mission is to foster a vital clay community; encourage professional development for its members through programming, exhibition opportunities, workshops, and sales venues; promote and support clay artists and activities; and educate the public about clay arts and local clay artists. ClayHouston is sponsoring and orchestrating the local efforts associated with the NCECA 47^th Annual Conference, Earth/Energy, taking place March 20 – 23, 2013, at the George R. Brown Convention Center in Houston. Nearly 5,000 artists, educators, collectors, businesses, non-profit organizations, schools and enthusiasts are expected to travel to Houston for the events. (Details on the conference and surrounding exhibitions are available at www.nceca.net.) The 2013 NCECA Biennial exhibition is on view in HCCC’s large gallery January 25 – May 5, 2013.

Susie J. Silbert is an independent curator, writer and design historian based in Brooklyn, New York. Her interest in ceramics, sparked at a young age and developed in undergraduate studies, was honed through several years living at the Penland School of Crafts in North Carolina and through studies at the Bard Graduate Center for Decorative Arts, Design History and Material Culture, where she received her Master’s degree in 2011. A strong supporter of Texas craft, she was the Curatorial Fellow at Houston Center for Contemporary Craft from 2011 to 2012 and a Windgate recipient at the Museum of Fine Arts, Houston, in 2008.

Roughneck: A Juried ClayHouston Exhibition Featured Artists

(1) Andre Bally, “Series 7 No. 4 – Blue on Reactive White.” Black clay, hand-formed, blue glaze applique’. 2012. Photo by Andre Bally.  (2) Jay Calder, “Celadon Grid Patterned Bottle.” Ceramic, wheel-thrown and slab construction, glazed. 2012. Photo by Rick Wells.  (3) Thomas Damon, “Homesick.” Glazed clay, found wheel, epoxy, acrylic. 2012. Photo by Russell Jumonville. (4) Thomas Damon, “Homesick.” Glazed clay. 2011. Photo by Russell Jumonville. (5) Marcia Erickson, “Fish & Radiation.” Stoneware, carved, stained, wood-fired. 2012. Photo by Marcia Erickson. (6) Karen Fiscus, “Revisiting Shigaraki.” De-manufactured clay, wheel-thrown. 2011. Photo by Van Edwards. (7) Jeff Forster, “Detritus 08NWs.” Studio discard clay, built into structure, weathered, wood-fired. 2012. Photo by Jeff Forster. (8) Sarah German, “Blue Ewer Set.” Porcelain, wheel-thrown, altered, screen-printed, wire, cone 6. 2012. Photo by Sarah German. (9) Yvonne Gerych, “Pommegranate Apple.” Clay, raku, mixed-media. 2012. Photo courtesy the artist. (10) Nell Gottlieb, “Blooming Cactus.” High-fire clay, glazed, pate-de-verre flowers attached. 2012. Photo by Nell Gottlieb. (11) Terry Hagiwara, “Meeting of the Water (II).” Raku. 2012. Photo by Terry Hagiwara. (12) Shikha Joshi, “Royal-tea.” Wheel-thrown, altered, hand-carved, cone 7. 2012. Photo by Anand Joshi. (13) Michelle Matthews, “Undefined.” Reclaimed stoneware & volcanic grit, hand-built, wood-fired. 2012. Photo by Michelle Matthews. (14) Christopher Melia, “Pitcher.” Porcelain, wheel-thrown, soda-fired, cone 10. 2012. Photo by Christopher Melia.(15)  Jennifer Windham, “Oysters.” Porcelain & stoneware, press-molded, pit-fired, Raku-fired, and high-fired. 2012. Photo by Jennifer Windham. (16) John Zimmerman, “Stratified Diving Helmet.” Clay, glaze. 2012. Photo by John Zimmerman.

Opening Reception & Artist Talk
Friday, January 25, 5:30 – 8:00 PM

Artist talk by Janice Jakielski at 5:30. The reception will also feature two other exhibition openings, the 2013 NCECA Biennial and Roughneck: A Juried ClayHouston Exhibition, and open studios by HCCC’s current resident artists from 6:00 – 7:00 PM. Beer sponsored by Karbach Brewing Co.

Master Workshop
Manipulating Fabric: Flowers, Frippery &
Fascinators with Janice Jakielski
Sunday, January 27, 10:00 AM – 4:30 PM.

Houston Center for Contemporary Craft is pleased to present Constructing Solitude, a solo exhibition by Janice Jakielski, on view January 25 – May 5, 2013.  Brilliant candy-like colors and nostalgic images overwhelm the senses in this theatrical installation, which offers imaginative new ways of seeing, hearing and participating with the world around us.

Drawing from women’s fashions from bygone eras—including Amish bonnets from her childhood adventures in Pennsylvania and her grandmother’s circa-1930s hat collection—Janice Jakielski has created a stunning collection of handmade headdresses. At first glance, the meticulous craftsmanship lends an authority to the pieces as functional objects, but a second look reveals the absurdity and imagination at play.  If worn, the bonnets would obscure one’s sight and hearing, transporting the wearer to a place of solitude—one that might feel either particularly welcome or isolating in the current age of sensory overload.  By allowing the viewer to envision wearing these odd but fascinating pieces, the artist creates a “threshold space between reality and the imagination” through her works.

Jakielski embellishes her forms with embroidery and porcelain adornments depicting flowers and birds. She carefully selects the floral imagery for each work using the language of flowers or floriography—a Victorian-era means of communicating with flowers to send messages—adding coded meaning to the individual works. Similarly, her depiction of birds is a reference to auspicium, a form of divination that interprets signs from the gods through the flight or migration patterns of birds.  HCCC Curator, Anna Walker, says that Jakielski’s work is built in layers:  “There are not only layers of color, materials, and stitches constructing these fantastical pieces, but the artist also embeds metaphorical layers of meaning within the works. Initially, the pieces seem cheerful and celebratory, but closer contemplation reveals a certain amount of isolation and seriousness.”

Along with and echoing the headdresses, Constructing Solitude includes a site-specific, interactive installation of “props” that play with the viewer’s sense of sight.  Jakielski provides two sets of handmade cylindrical goggles to view a whimsical vignette she’s constructed from porcelain and mixed media.  However, like the bonnets, these goggles restrict the viewer’s peripheral vision. The artist explains: “This work is a humorous investigation of actual, metaphorical and poetic means of building connections between peoples. I am exploring methods of communication and the navigation of the spaces, both physical and mental, that we inhabit. . . By disrupting or enhancing the senses, my props make possible an exaggerated self-awareness, a break in the normalcy of daily experience.”

Having taken residencies and teaching positions in several different locations over the last few years, Jakielski has been far away from her family but feels it’s important to maintain personal connections.  By providing the two sets of goggles for her piece, she further explores ideas surrounding relationships and communication by enabling visitors to have a shared experience and view the exhibition simultaneously.

Janice Jakielski was born in Maytown, Pennsylvania, and currently lives and works in Calgary, Alberta, Canada, where she is a visiting artist at Alberta College of Art & Design.  She received a Bachelor of Fine Arts from the New York State College of Ceramic Art and Design at Alfred University and a Master of Fine Arts from the University of Colorado, Boulder. Jakielski has been an artist-in-residence at the Roswell Artist in Residence Program in Roswell, NM; the Millay Colony for the Arts, Austerlitz, NY; The Archie Bray Foundations for the Arts, Helena, MT; and was a fellow in 2012 at the Djerassi Resident Artist Program, Woodside, CA.  Her work has been shown at the Seattle Design Center, Seattle, WA; The Textile Arts Center, Brooklyn, NY; Pendleton Center for the Arts, Pendleton, OR; Greenwich House Pottery, New York, NY; Vertigo Artspace, Denver, CO; and the Clay Studio, Philadelphia, PA.

Above images: (1) Janice Jakielski, “Auspicium”. Fabric, mixed media; 18″ x 8” x 8.″ 2011. (2) Janice Jakielski, “Auspicium” (detail). Fabric, mixed media; 18″ x 8” x 8.″ 2011. (3) Janice Jakielski, “Beware! I am fanciful!” Fabric, window screen. 18″ x 8″ x 8.″ 2011.(4) Janice Jakielski, “Beware! I am fanciful!” (detail). Fabric, window screen. 18″ x 8” x 8.″ 2011. (5) Janice Jakielski, “Field.” Porcelain, mixed media. 2011. (6) Janice Jakielski, “Field” (detail). Porcelain, mixed media. 2011.  All photos by Joshua Persky.