The 12th Annual Marge Brown Kalodner Graduate Student Exhibition

Crista Ann Ames (University of Montana, Missoula, MT)

Lapsed Animation

Medium & Materials:
Stoneware, Wool

Measurements:
98" x 10" x 32"

Date:
2015

Description:
I am a sculptor who works primarily in ceramics and textiles. I find that the integration of both permanent and impermanent materials conveys my interest in approaches to memory, loss and transformation. Just as the act of remembering transforms an experience into something different, time degrades some elements and leaves others to endure. Through the layering of mythology, iconography and personal narrative, my work explores how our own animal nature relates to the ways we establish and sustain personal relationships. I draw on my own experiences to explore pastoral life, animal husbandry, women’s craft and fertility. In bridging the gap between myth and experience, I utilize my artistic practice to create altogether new stories that tell contemporary tales of trauma, joy and womanhood. www.cristannames.com

Crista Ann Ames (University of Montana, Missoula, MT)

Allocated Juncture

Medium & Materials:
Stoneware, Wool, Wax, 30" x15" x 53", 2015,

Measurements:
30" x15" x 53"

Date:
2015

Description:
I am a sculptor who works primarily in ceramics and textiles. I find that the integration of both permanent and impermanent materials conveys my interest in approaches to memory, loss and transformation. Just as the act of remembering transforms an experience into something different, time degrades some elements and leaves others to endure. Through the layering of mythology, iconography and personal narrative, my work explores how our own animal nature relates to the ways we establish and sustain personal relationships. I draw on my own experiences to explore pastoral life, animal husbandry, women’s craft and fertility. In bridging the gap between myth and experience, I utilize my artistic practice to create altogether new stories that tell contemporary tales of trauma, joy and womanhood. www.cristaannames.com

Crista Ann Ames (University of Montana, Missoula, MT)

A Breath of Consent

Medium & Materials:
Stoneware, Wool

Measurements:
210" x 18" x 70"

Date:
2015

Description:
I am a sculptor who works primarily in ceramics and textiles. I find that the integration of both permanent and impermanent materials conveys my interest in approaches to memory, loss and transformation. Just as the act of remembering transforms an experience into something different, time degrades some elements and leaves others to endure. Through the layering of mythology, iconography and personal narrative, my work explores how our own animal nature relates to the ways we establish and sustain personal relationships. I draw on my own experiences to explore pastoral life, animal husbandry, women’s craft and fertility. In bridging the gap between myth and experience, I utilize my artistic practice to create altogether new stories that tell contemporary tales of trauma, joy and womanhood. www.cristannames.com

Mark Arnold (Southern Illinois University, Edwardsville, IL)

Shot Glass Caddy

Medium & Materials:
Porcelain, Cone 10 Salt

Measurements:
12" x 12" x 6"

Date:
2015

Description:
As a potter, I strive to create a balance between surface and form. My pots are primarily wheel thrown from coils formed within a plaster press-mold base. The attention to surface design in my pieces serves as a way to heighten one's perception about what a pot can be. Lines, dots, square, texture, and color are used to create structure, movement, and depth. Inspiration for surface decoration can be motivated by something as simple as looking at the patterns from stacked bricks in a kiln or found patterns in daily life. My work is fired in atmospheric kilns and this process allows an element of chance to occur during the firing. The atmosphere in the kiln during firing causes unique patterns of soda ash, salt or wood ash to be deposited across the surface of each piece in the kiln. I am drawn to this process because of the infinite variety of textures and color. Marks are both blurred and enhanced by the gravitational movement of the glaze. Creating utilitarian objects with layered and active surfaces is an outlet for playful yet structured investigation. Essentially, I aim to produce well-crafted functional objects that provide lasting experiences in day-to-day life.

Mark Arnold (Southern Illinois University, Edwardsville, IL)

Teapot

Medium & Materials:
Porcelain, Cone 10 Salt

Measurements:
5" x 5" x 7"

Date:
2015

Description:
As a potter, I strive to create a balance between surface and form. My pots are primarily wheel thrown from coils formed within a plaster press-mold base. The attention to surface design in my pieces serves as a way to heighten one's perception about what a pot can be. Lines, dots, square, texture, and color are used to create structure, movement, and depth. Inspiration for surface decoration can be motivated by something as simple as looking at the patterns from stacked bricks in a kiln or found patterns in daily life. My work is fired in atmospheric kilns and this process allows an element of chance to occur during the firing. The atmosphere in the kiln during firing causes unique patterns of soda ash, salt or wood ash to be deposited across the surface of each piece in the kiln. I am drawn to this process because of the infinite variety of textures and color. Marks are both blurred and enhanced by the gravitational movement of the glaze. Creating utilitarian objects with layered and active surfaces is an outlet for playful yet structured investigation. Essentially, I aim to produce well-crafted functional objects that provide lasting experiences in day-to-day life.

Mark Arnold (Southern Illinois University, Edwardsville, IL)

Mug

Medium & Materials:
Porcelain, Cone 10 Salt, Gold Luster

Measurements:
3" x 3" x 5"

Date:
2015

Description:
As a potter, I strive to create a balance between surface and form. My pots are primarily wheel thrown from coils formed within a plaster press-mold base. The attention to surface design in my pieces serves as a way to heighten one's perception about what a pot can be. Lines, dots, square, texture, and color are used to create structure, movement, and depth. Inspiration for surface decoration can be motivated by something as simple as looking at the patterns from stacked bricks in a kiln or found patterns in daily life. My work is fired in atmospheric kilns and this process allows an element of chance to occur during the firing. The atmosphere in the kiln during firing causes unique patterns of soda ash, salt or wood ash to be deposited across the surface of each piece in the kiln. I am drawn to this process because of the infinite variety of textures and color. Marks are both blurred and enhanced by the gravitational movement of the glaze. Creating utilitarian objects with layered and active surfaces is an outlet for playful yet structured investigation. Essentially, I aim to produce well-crafted functional objects that provide lasting experiences in day-to-day life.

Ashley Bevington (Edinboro University, Edinboro, PA)

Happy Bone Leg With Sock

Medium & Materials:
Clay, Underglazes, Glazes, Slip, Nichrome Wire, Dowel Rods

Measurements:
11" X 8" X 22"

Date:
2015

Description:
My work revolves around the disillusionment of adulthood. As children, we long to be grown-up. We look forward to driving, having jobs, and being respected. It isn’t until we become adults with said responsibilities that we realize how good we once had it as children. Often we then find ourselves longing for the past. These feelings are the basis of my ceramic and mixed media sculptures. I use brilliant colors, exaggerated proportions, gaudy glazes, and crayon-like line qualities to give a childlike feel to my work. Symbols are often snuck into the youthful forms to portray the identity of the defeated adult. My aim is to provide the information to allow for both child and adult curiosity to roam free. Bridging the gap between generations will allow for new perspectives to grow for one another. www.ashleybevington.com

Ashley Bevington (Edinboro University, Edinboro, PA)

Watering Can

Medium & Materials:
Clay, Underglazes, Glazes, Gold Luster, Holographic Beads, Bead Cord

Measurements:
16" X 16" X 72"

Date:
2015

Description:
My work revolves around the disillusionment of adulthood. As children, we long to be grown-up. We look forward to driving, having jobs, and being respected. It isn’t until we become adults with said responsibilities that we realize how good we once had it as children. Often we then find ourselves longing for the past. These feelings are the basis of my ceramic and mixed media sculptures. I use brilliant colors, exaggerated proportions, gaudy glazes, and crayon-like line qualities to give a childlike feel to my work. Symbols are often snuck into the youthful forms to portray the identity of the defeated adult. My aim is to provide the information to allow for both child and adult curiosity to roam free. Bridging the gap between generations will allow for new perspectives to grow for one another. www.ashleybevington.com

Ashley Bevington (Edinboro University, Edinboro, PA)

Rainbow

Medium & Materials:
Clay, Underglazes, Glazes, Spray Paint, Nichrome Wire

Measurements:
22" X 4" X 19"

Date:
2015

Description:
My work revolves around the disillusionment of adulthood. As children, we long to be grown-up. We look forward to driving, having jobs, and being respected. It isn’t until we become adults with said responsibilities that we realize how good we once had it as children. Often we then find ourselves longing for the past. These feelings are the basis of my ceramic and mixed media sculptures. I use brilliant colors, exaggerated proportions, gaudy glazes, and crayon-like line qualities to give a childlike feel to my work. Symbols are often snuck into the youthful forms to portray the identity of the defeated adult. My aim is to provide the information to allow for both child and adult curiosity to roam free. Bridging the gap between generations will allow for new perspectives to grow for one another. www.ashleybevington.com

Hannah Cameron (Ohio University, Athens, OH)

Fido

Medium & Materials:
Ceramic, Mixed Media

Measurements:
17" x 14" x 48"

Date:
2014

Description:
Orange and green claw, wrapped in white, attached to the back of a chair.

Trisha Coates (Wichita State University, Wichita, KS)

Vanity

Medium & Materials:
Cone and Porcelain

Measurements:
30" x 8" x 32"

Date:
2014

Description:
My work engages the idea that our relationship to the past and our own personal histories is more fluid and impermanent than we are led to believe. I believe memory is not a system of retrieval but an adaptive, constructive process, where recollection produces not a likeness, but a version of a past experience linked more to circumstances in the present. Memory then becomes an eternal re-thinking and re-evaluation, continually being rewritten by current perceptions. It illuminates as much about our present desires as it does the past as a form of truth. Because memory is an ever-shifting confluence of past and present, my work relies on the fragile and fragmented. Using the language of delicacy and walking the line between ephemeral and permanent, I create works that explore the creative act of remembering and suggest that searching doesn’t always lead to finding. I am interested in the interplay between object and image, and blurring the perceptions of both. While an image creates an opposition between the “real” experience of the past and the “new” experience of the present, objects work to bridge this rupture through the idea of containment and presentation. My work relies on this rupture and reconciliation, on the image representing and the object presenting. My objects and images begin to flux, emerge and dissolve within each other to create hidden trails of the common and unlikely, the real and imagined. Additionally, the ceramic object’s history is embedded in the idea of containing, holding, and preserving, and as such, it is a fitting material to reference the desire for preserving experience. These works represent moments, yet through the constructed and allusive use of ceramic objects, they begin to tangibly present the act of searching and attempt to preserve. Porcelain’s exceptional range of qualities is a way for me to symbolically reference much of what I find compelling about memory as a process. For centuries, it has been a material that embodies desire and value, yet still remains tethered to the temporal. From its appearance as a status symbol of wealth in Dutch still life painting, to its more humble, everyday presence around our own dining tables, it is at once both precious and common. I engage its dialectical properties as a material liquid and solid, soft and immutable, fragile and strong. It is by emphasizing these qualities that I am able to underscore the shifting perceptions found within remembering and perceiving. I drip, coat, cast, render, shatter and reconstruct the porcelain. By combining these various states of matter and wholeness, I am able to entangle the timeline of memory to further reinforce the idea that memory is the present past.

Trisha Coates (Wichita State University, Wichita, KS)

Confluence

Medium & Materials:
Procelain, Fused Glass

Measurements:
24" x 4" x 32"

Date:
2015

Description:
My work engages the idea that our relationship to the past and our own personal histories is more fluid and impermanent than we are led to believe. I believe memory is not a system of retrieval but an adaptive, constructive process, where recollection produces not a likeness, but a version of a past experience linked more to circumstances in the present. Memory then becomes an eternal re-thinking and re-evaluation, continually being rewritten by current perceptions. It illuminates as much about our present desires as it does the past as a form of truth. Because memory is an ever-shifting confluence of past and present, my work relies on the fragile and fragmented. Using the language of delicacy and walking the line between ephemeral and permanent, I create works that explore the creative act of remembering and suggest that searching doesn’t always lead to finding. I am interested in the interplay between object and image, and blurring the perceptions of both. While an image creates an opposition between the “real” experience of the past and the “new” experience of the present, objects work to bridge this rupture through the idea of containment and presentation. My work relies on this rupture and reconciliation, on the image representing and the object presenting. My objects and images begin to flux, emerge and dissolve within each other to create hidden trails of the common and unlikely, the real and imagined. Additionally, the ceramic object’s history is embedded in the idea of containing, holding, and preserving, and as such, it is a fitting material to reference the desire for preserving experience. These works represent moments, yet through the constructed and allusive use of ceramic objects, they begin to tangibly present the act of searching and attempt to preserve. Porcelain’s exceptional range of qualities is a way for me to symbolically reference much of what I find compelling about memory as a process. For centuries, it has been a material that embodies desire and value, yet still remains tethered to the temporal. From its appearance as a status symbol of wealth in Dutch still life painting, to its more humble, everyday presence around our own dining tables, it is at once both precious and common. I engage its dialectical properties as a material liquid and solid, soft and immutable, fragile and strong. It is by emphasizing these qualities that I am able to underscore the shifting perceptions found within remembering and perceiving. I drip, coat, cast, render, shatter and reconstruct the porcelain. By combining these various states of matter and wholeness, I am able to entangle the timeline of memory to further reinforce the idea that memory is the present past.

Chris Drobnock (University of Arkansas, Fayettesville, AK)

place and placement: of flowers and rain.

Medium & Materials:
Earthenware, Colored Slip, Epoxy

Measurements:
24" x 15" x 38"

Date:
2015

Description:
I have been investigating and making based on the idea that all objects, all things, have a preconceived understanding of object use that is culturally imprinted in our psyche; into our subconscious or even deeper our subliminal mind. The sculpture presented references the mundane, the profane, things that we come in contact with on a daily basis. These objects have been taken for granted, but in focusing on presenting these things a rarified sense of awareness is given to them. By fabricating them they become symbolic or iconic, immediately understood as having a direct purpose or referencing specific action. Functionality is a truth, historically and ultimately assumed or pronounced utility objects that, collectively, we have faith in. The clay material is of the physical world and records touch as it is handled. Color choice and formal decisions are playful and methodical, used to mimic blurry vision in the periphery of our point-of-view or to react to the thought that the everyday object might exist like a John Cage-style of ‘silence,’ that nothing is ordinary; that nothing is, in fact, sacred.

Chris Drobnock, University of Arkansas

the conversation (part 1 of 2).

Medium & Materials:
Earthenware, Colored slip, Epoxy

Measurements:
20" x 19" x 35"

Date:
2015

Description:
I have been investigating and making based on the idea that all objects, all things, have a preconceived understanding of object use that is culturally imprinted in our psyche; into our subconscious or even deeper our subliminal mind. The sculpture presented references the mundane, the profane, things that we come in contact with on a daily basis. These objects have been taken for granted, but in focusing on presenting these things a rarified sense of awareness is given to them. By fabricating them they become symbolic or iconic, immediately understood as having a direct purpose or referencing specific action. Functionality is a truth, historically and ultimately assumed or pronounced utility objects that, collectively, we have faith in. The clay material is of the physical world and records touch as it is handled. Color choice and formal decisions are playful and methodical, used to mimic blurry vision in the periphery of our point-of-view or to react to the thought that the everyday object might exist like a John Cage-style of ‘silence,’ that nothing is ordinary; that nothing is, in fact, sacred. https://chris-drobnock-qhma.squarespace.com

Ashley York, Tyler School of Art

Austin Wieland, Edinboro University of Pennsylvania

Benjamin Lambert

Benjamin Lambert, Edinboro University of Pennsylvania

Medium & Materials:
Earthenware

Measurements:
21.5" x 11" x 13"

Date:
2015

Description:
Bird's head, hanging by sculpted "rope" looped around feathers at the top of the head. The bird's gaze is dark and severe, facing out at the viewer.

Dennis Ritter, Alfred University

Didem Mert, Edinboro University of Pennsylvania

Garick Tai-Lee, Indiana University of Pennsylvania

J. Shiloh Gastello

J. Shiloh Gastello, Oregon College of Art and Craft

Medium & Materials:
Porcelain

Measurements:
10" x 14" x 5"

Date:
2015

Description:
Artist Statement: "I seek to combine the evolving traditions of the modern/contemporary art pallet (white, black, gold, etc.), the delicacy of Victorian China, and the earthy textures that reference nature and its philosophical correlation to us as is apparent in traditional Japanese Mingei wares. My goal is to make wares that are unassumingly comfortable, refined and delicate, and reflect the clean pallet apparent in contemporary design aesthetics." White porcelain piece of a place setting with saucers of varying sizes, one European style cup with rim vertically extended high above the handle, Japanese-style teapot, and a bowl with green artichoke and lime slices.

J. Shiloh Gastello

J. Shiloh Gastello, Oregon College of Art and Craft

Medium & Materials:
Porcelain

Measurements:
12" x 24" x 10"

Date:
2015

Description:
Artist Statement: "This series is an exploration into how degradation of the body can be represented by the symbolically bio-morphic gesture of objects and relate to various emotional states." Assorted white porcelain teapots all at angles, as if melting or collapsed. Covers are askance or missing pieces and the handles are warped, distorted or broken.

Jennifer Johnson (Tyler School of Art, Philadelphia, PA)

Fence 2: Fake Windows on Lancaster Avenue

Medium & Materials:
Porcelain, Steel Rod, 2 Channel Video projection

Measurements:
52" x 55"

Date:
2015

Description:
This piece consists of rods overlaid in a diagonal grating and a 5 min video projection depicting nine windows in the 3900 block Lancaster Avenue installed against a solid cinderblock wall; the glass is backed with tar paper. Traffic passes by, flowing back and forth between the city and the suburbs.

Julia Six, Tyler School of Art

Kahlil Irving, Washington University in St. Louis

Kelly Stevenson, Georgia State University

Kelsey Duncan

Kelsey Duncan, Ohio University

Medium & Materials:
Stoneware

Measurements:
16.5" x 18" x 37"

Date:
2015

Description:
Statue of a young white boy with red hair, wearing black swim trunks. He has two orange water wings on his right arm which is raised so he can look at an object between his pinched fingers.

Kevin Kao, University of Tennessee Knoxville

Kimberly Luther, Indiana University

Michael J. Gesiakowski

Michael J. Gesiakowski, Southern Illinois University Edwardsville

Medium & Materials:
Stoneware

Measurements:
25" x 18" x 3"

Date:
2015

Description:
Artist Statement: "My work references degraded and weatherworn architectural ornamentation as metaphor for our individual memories and how they can decay over a lifetime, obscuring the line between veritable facts and the accuracy of our own recollections. The bright, enlivened surfaces offer a contradiction to this state of decline, as memories are altered and embellished through imprecise recall. The two-dimensional imagery is a flattened, incomplete representation of the three-dimensional ornament found within architecture of the last century. The engagement between the deteriorated forms and the obscured surfaces suggest a temporal and spatial connection to our own brief, chronicled existence." This piece consists of several overlapping tiles: turquoise colored background with curled black design on them. The overall appearance is of a weathered and splintered wall.

Michelle Laxalt, Georgia State University

Sara E. Morales-Morgan, Edinboro University

Shiyuan Xu, Arizona State University

Soe Yu Nwe, Rhode Island School of Design

Stephanie Dukat

Stephanie Dukat, Southern Illinois University Carbondale

Medium & Materials:
Earthenware, Wood, Foam, Ink, Gold leaf, Flocking

Measurements:
10" x 10" x 72"

Date:
2015

Description:
Reminiscent of a towering, industrial building, this sculpture stands on a tall four legged, square stool. The legs are rectangular, with horizontal footrests at varying heights. The middle section is beige, wooden rectangular structure, framing an red and black design in ink. The third section is a trapezoidal grey block, with three chimneys extending upwards with sculpted smoke.