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April 2014
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June 2014

May 2014

Steven Gorman

GormanSL.299144130_stdSteven Gorman creates biomorphic hybridized forms constructed from white earthenware ceramics, airbrushed acrylics and occasionally an added mixed media element. Having a strong interest in the Surrealist movement, particularly the works of Hans Arp and the contemporary ceramic work of Ken Price, Ron Nagle, and Kathy Butterly, he strives to continue making work within this tradition of the finish fetish object.

He says, 'Through the use of flowing organic bulbous forms, color and pattern choices, I hope to create works which are stunning, alluring, mysterious, sensuous and layered with deeper meanings. Ambiguity of form united with an interesting surface treatment has been the hallmark of my work since 1993. Often there is an underlying veiled contemporary issue reflected within the work. Viewers have used the words; otherworldly, animated, whimsical and cartoony to describe my work. The word illusion has also been mentioned, when they state, how can something so hard appear to look so soft?

Every object starts out as a drawing, is then slab built, smoothed, carved, refined through a three step laborious sanding process, fired, post fire sanded again, cleaned, airbrushed, signed and then sealed. One of my goals has been the merger of painting and sculpting as one united whole, at the same time expressing ideas and concepts pertaining to life in general. My goal is to play a part as contemporary ceramics continues to metamorphosis from the genre of Fine Craft to Fine Art."

 

 

 


Shalya Marsh

Shayla marshShalya Marsh is a ceramic artist whose work holds a certain mystery and message in its fluid shapes and organic forms.

She says, "Through an exploration of decipherable codes and symbols, my work expresses the intrinsic limitation language places on communication. The hand built ceramic sculptures reference illuminated manuscripts, ancient cuneiforms, and primitive accounting systems known as tokens. These archaic systems of recording information are juxtaposed with modern codes and ciphers such as binary, substitution, and Morse. The viewer is invited to literally decode the piece's nonsensical pangrams, whimsical definitions, and historic cipher text.

I use simple mono-alphabetic substitutions in two layers of encryption. In the first, each texture of the ceramic work stands for an individual letter, and in the second, the shapes of the work reference codes such as Morse and binary. The incorporation of binary code into the work is a device that communicates a relationship to modern, digital technologically based forms of communication and encoding. These have become a part of our everyday experience but often go unnoticed.

Recent works have encoded famous cipher text, such as Japanese World War II diplomatic communiqués and passages from the Rosetta stone. The text that I choose serves as a code or metaphor for written and verbal communication. By encoding information, my work shows the inaccessibility of language and communication, creating new systems of signs and symbols that are equally as inadequate as language at conveying meaning."