SEPTEMBER 26, 2016
Travis Winters is a ceramic artist and current resident artist at Baltimore Clayworks in Baltimore, MD. Working primarily with animals and figures, he creates a visceral experience for the viewer by meticulously crafting characters that evoke narrative and the sense of touch. A MFA graduate from Edinboro University of Pennsylvania, Winters exhibits work nationally and has shown at Baltimore Clayworks in Baltimore, MD, The Clay Studio in Philadelphia, PA, The Workhouse Arts Center in Lorton, VA, The Kirkland Arts Center in Kirkland, WA and the Ceramics Center in Cedar Rapids IA. Travis was the Lormina Salter Fellowship Artist at Baltimore Clayworks, long term Resident at Odyssey Clayworks in Asheville, NC, a Kiln God Summer Resident at Watershed Center for the Ceramic Arts in New Castle ME and a Short-Term Resident Artist at Red Lodge Clay Center in Red Lodge, MT.
With my work I am constructing characters, often humorous, each focused on its own individual narrative. These stories are based on the mundane day-‐to-‐day, past struggles, and real people. Throughout life we encounter many “characters” and create our own stories, some becoming part of our identity as we pass them on to those around us. I feel it necessary to narrate these stories derived from human nature, universal experiences and my own personal understanding of the world around me. Drawing from these observations, I am able to manifest prevalent themes about life with in our contemporary society. By creating comical figures, I am initiating a non-‐threatening conversation about different topics common within our culture. Captivating the imagination of the viewer, I invite the fabrication of personal narratives and encourage an intimate connection with the characters. This dialogue between viewer and figure encourages various interpretations, all while relating the narrative back to themes of everyday existence and experiences. Through my work, I am modeling my figures with exaggerated folds and wrinkles in order to create a visceral encounter with the narrative. Through modeling in this stylized yet realistic way, the viewer gets hooked in, as their curiosity leads them to closely examine each character.
OCTOBER 24, 2016
In October, Kanika Sircar will talk about sources of inspiration for of her recent work, grouped under the title MapQuest. Her sculptural vessels and wall pieces use maps and texts as central images. Prints of charts and excerpts of poetry are layered over slips, stains and pencil drawings. Maps are employed to evoke both certainty and doubt, pointing to where we assume we are and the arbitrary nature of that assumption. Thought provoking and beautiful, some pieces reference Vedic cosmography, some the diagrams of the Copernican universe, some the topography of Mars, and others the documents and plans of India’s partition.
Kanika Sircar trained as a cultural anthropologist. She has made work in clay since the early 1990s and shows regionally and nationally. Her next show will be in November 2016 at Waverly Street Gallery, Bethesda MD; for details please see: http://waverlystreetgallery.com/mapquest/
Education: Smith College (English); University of Chicago (Anthropology)
Art education: Leonard Baskin (printmaking,); Sam Gilliam, Jim Bird (painting); Jon Beckley, Bruce Carter, Joann Maier (printmaking)
More images on: www.kanikasircar.wordpress.com
NOVEMBER 28, 2016
The society we live in today is constantly in a rush, with most not having the time to stop and appreciate life. When we fail to pause and notice the seemingly insignificant details of the world around us, we are robbing ourselves of meaningful thoughts and introspections. It is my goal to help with this habit by introducing imperfect beauty into the pedestrian rituals of daily life. Through my work, I hope that you will be able to touch, sense, and enjoy the everyday phenomena that we as a society so frequently overlook.
My journey began on my grandparent’s farm in Southern Maryland. It was there that I first remember taking notice of the intricacies of my environment. I paid careful attention to the workings of the nature surrounding me, as well as the minor, yet in my mind notably significant, details of that nature. It was this quest for beauty in the minuscule and unnoticed that causes me now to look to shapes, and patterns in the world around me.
I find solace in my process at the potter’s wheel, working hard to attempt a feeling of effortless existence in my pots. I work with speed and rhythm to try and find that elusive balance that becomes perfectly imperfect. It is my sincere hope that by exposing the public to my visions of the simplistic and imperfect, I will encourage my observers to take some time out of their hectic routine to appreciate the beauty of the under appreciated aspects of ones daily life.
JANUARY 23, 2017
Working primarily with forms finished in the soda kiln, Lisa York creates ceramics for special occasion and daily use. The varied surfaces, line, and circle patterns on the work are inspired from travel and time outdoors.
Currently, York is an instructor and ceramic technician at Hood College. She studied art at University of North Dakota, Hood College, Houghton College, and apprenticed with Kevin Crowe at Tye River Pottery. She was an artist-in-residence at the Sanbao Ceramic Art Institute in Jingdezhen, China, the International Ceramics Studio in Kecskemet, Hungary, and the Residency for Ceramics, Berlin, Germany. In Tanzania, she started a ceramics program at of Neema Crafts, an organization that trains people with disabilities to become skilled artisans. Likewise, she worked with a similar program in Chichi, Guatemala for a short-term project. Ceramics she made in Germany are on display at Hood College.
Lisa will be talking about her experiences working with ceramics at these different international locations and about her ceramics she is currently making in the states.
FEBRUARY 27, 2017
For as long as I can remember, I have been interested in finding new purposes for old things. For me, clay has become the ultimate test. Turing raw earth into something functional, beautiful and exciting has forever changed my thinking and way of life.
After a B.S. In art and design from Towson University, and a 2 year clay residency in Baltimore, I moved back to Frederick, Maryland. My wife and I bought a house with some land, and soon after I begun construction a large wood-burning kiln to fire my work and share what I’ve learned with my students and friends. The kiln was built entirely of used or left over materials including stone and earth from our property. Much like the kiln and my clay, I have reworked and reformed ideas and techniques when I fire my work, all of which inspire the development of my pots and surfaces.
MARCH 27, 2017
APRIL 24, 2017
Enticed by a potter on a kickwheel at a Waterford, VA fair, Karen began pottery lessons in the early 70s with Jill Hinckley in Washington, DC, apprenticing at Hinckley Pottery Studio shortly thereafter. Over these past many years Karen has worked full time as a studio potter, participating in workshops, craft shows and fairs, and as a ceramics teacher, instructing children and adults in independent schools, private studios, and universities. She has exhibited her work at shows and galleries in the DC area. Her work is currently on display at Terasol, an artisan gallery in Washington, DC, and at Main Street Gallery in Cambridge, MD.
Enticed again, this time by marriage to a lifelong friend and a move to Maryland’s Eastern Shore, Karen now lives in Cambridge, MD, and works out of her basement studio. She is a member of the Clay Guild of the Eastern Shore and Main Street Gallery in Cambridge, MD; Salisbury Art Space; and the Art Academy in Easton, MD. Karen currently teaches pottery at Hinckley Pottery Studio in Washington, DC, and Studio Ceramics, One through Advanced, at Salisbury University, Salisbury, MD.
Karen creates wheel-thrown, functional pieces in stoneware and porcelain using two very different firing methods: cone 10 reduction and low-fire raku. The attempt to achieve a pleasing form and surface is the motivation for her work. She believes in surrounding oneself with beautiful objects for daily use, and enjoys the act of sharing her love of this exceptionally responsive medium to her students.
Recently she became interested in combining hand-building and wheel-throwing techniques. Her current series of “lady carafes” combines these two techniques while remaining true to her functional impetus. The first “Lady” began as a strictly sculptural piece but, before its finish, became a functional carafe as well. Karen’s attention to functionality could not be resisted. This series celebrated women throughout the ages and their roles in society. Her inspiration is found in women from historical, mythological, political, contemporary, and imaginary settings.
MAY 22, 2017
Pot luck dinner and jurying for the show at Sandy Spring