artist-in-residence will work to discover new ceramic technology and
cutting-edge knowledge in the field of ceramics in conjunction with the
faculty and students of the WVU ceramics program.
School of Art and Design-College of Creative Arts
ARTIST IN RESIDENCE/POST GRADUATE APPOINTMENT IN CERAMICS
Position Description: The School of Art and Design with the College
of Creative Arts (CCA) at West Virginia University (WVU) seeks
applications for an artist-in-residence/post graduate appointment in
ceramic research with WVU’s Ceramic Technology Research Program. The
position is a full-time (1.0 F.T.E), temporary, benefits eligible,
non-tenure track, faculty appointment beginning October 16, 2014 and
ending May 15, 2015. The position is renewable for up to three years
contingent upon the candidate’s successful annual review and the
availability of continued funding.
This self-directed, artist-in-residence appointment is intended to
provide an emerging ceramic artist with an opportunity to produce a
significant body of work that advances the field of ceramics at WVU. The
artist-in-residence will work to discover new ceramic technology and
cutting-edge knowledge in the field of ceramics in conjunction with the
faculty and students of the WVU ceramics program.
The candidate will have full access to all WVU ceramic facilities,
materials, studio space and equipment, assist with the WVU Ceramics
3-D/Production Studio, participate with the School as a collaborator and
mentor for undergraduate and graduate students in the School’s BFA and
MFA programs, and teach one course per year. During the term of
appointment, the candidate is expected to present one public lecture on
the findings of his/her research/creative work in ceramics.
• MFA in Ceramics completed by October 15, 2014
• Experience with 3-D prototype software and equipment.
• Knowledge of production studio methods is desirable, but not required
• Successful applicants must have a valid driver’s license and a
personal vehicle in order to commute between WVU ceramic’s studios
Salary and Benefits: $18,044 for the initial 7 month appointment
(October 16, through May 15, 2015) and if renewed, thereafter $23,200
annually. The position is benefits eligible. Semi-private studio
space, most ceramic materials, all firings, and access to a 3-D ceramic
printer will be provided for the candidate’s use.
Deadline: Application review begins immediately and will continue until the position is filled.
Application: For a complete application, interested candidates should
submit the following application materials via email with all files
saved as JPGs or PDFs:
• letter of application
• current curriculum vitae
• one-page artist’s statement
• names and full contact information (address, phone and email) of three (3) current references
• 15 to 20 images of the candidate’s recent creative work
• applications should be emailed to:
Shoji Satake, Associate Professor/Ceramics Area Coordinator
• questions about the position should be directed to the same email address
The School of Art and Design (artanddesign.wvu.edu) is a dynamic
program with a growing reputation whose mission is to contribute to the
greater good of art, education and culture. Approximately 250
undergraduate students and 20 graduate students are currently enrolled,
and the graduate program is nationally ranked by U.S. News & World
Report. The School has 17 full-time and 14 part-time faculty and is the
only institution in the state that offers professionally-accredited
(NASAD) programs including a BFA and MFA in Studio Art, a BA and MA in
Art History, and a MA in Art Education. Teacher Certification is also
The College of Creative Arts (ccarts.wvu.edu) is one of 15 colleges
within the university, includes the Schools of Music, Theatre &
Dance, and Art & Design, and offers the state’s premiere training in
the visual and performing arts. Each of these units has a national
profile of excellence and all programs are nationally accredited (NAST,
NASM, and NASAD).
The College of Creative Arts is housed in WVU’s Creative Arts Center
and has more than 70 full-time faculty and 20 professional staff whose
mission is to educate succeeding generations of artists, teachers, and
scholars through an experiential student-centered approach to learning.
The College advocates the Arts as a medium through which the diversity
of human experience is understood and valued. Exemplifying excellence
and innovation in performance, exhibition, scholarship, and creative
research, the College offers artistic and cultural opportunities for the
citizens of West Virginia and the regional community.
West Virginia University (wvu.edu) is classified as a
Doctoral/Research University-Extensive and is the state’s only
comprehensive doctoral-granting, land grant institution. WVU has a
current enrollment of with approximately 28,000 undergraduate and 5,500
graduate students enrolled in more than 184 graduate and undergraduate
programs. The university community is committed to student-centered
priorities, academic excellence, research, creative activity and service
to the state.
The city of Morgantown has 55,000 residents and has been ranked as
the #1 Small City in America,” the “Best Small City in the East,” and
the “3rd Best Small Town” in the nation. Boasting a strong economy and
an unemployment rate well below the national average, the area also
offers a wide variety of cultural and recreational activities.
West Virginia University has created a dual career program to help
faculty partners or spouses find employment in and around the university
West Virginia University is an affirmative action, equal opportunity
employer. Women, minorities, individuals with disabilities and veterans
are especially encouraged to apply.
This announcement is available in alternative format (e.g., large
print, Braille, audio tape, disk) by contacting the School of Art and
Design by phone at 304-293-2140 or by mail at Room 419-A, Creative Arts
Center, Box 6111, West Virginia University, Morgantown, WV 26506-6111.
The Gardiner Museum presents the 4th Annual RBC Emerging Artist People’s Choice Award
from September 2 to October 14, 2014. Supported by the RBC Emerging
Artists Project, the $10,000 award – voted by the public at the
exhibition and online – honours a Canadian artist (or permanent
resident) who has been out of school and practicing professionally with
clay as part of his/her artist practice for seven years or less. A
national panel of artists, curators and arts educators nominated the
five exceptional artists.
Online voting begins Wednesday, September 3 at 12 noon and ends Sunday, October 12 at 11:59 pm. You can also vote at the exhibition from September 2 to October 12.
Creative Saskatchewan is hosting an 'Investment Grant Outreach Tour' in advance of our fall intake for program funding. This tour is open to all creative producers from our supported creative industries and is designed as an opportunity to learn more about Creative Saskatchewan, our funding programs, and tips for completing your funding application to us.
In an effort to reach as many Saskatchewan creative producers as possible, we are hosting 8 outreach sessions from August 25 through September 5 in a variety of locations throughout the province. Learn about investment opportunities for commercial creative industry projects and endeavours that can help you introduce your product to global markets.
Creative Saskatchewan is a new agency dedicated to the growth and commercial viability of Saskatchewan's creative industries. A series of workshops throughout the province will provide information about our investment programs and tips on compiling and submitting your application.
Creative Saskatchewan manages 9 investment programs; each program is designed to support the success of its applicants.
Red Lodge Clay Center | Deadline: September 2, 2014 | Fee (USD): $10.00
The DO GOOD-MJ Wood Memorial Short-Term Residency is an underwritten residency intended to support ceramic artists who wish to develop a body of work with a socially-conscious spirit and a strong sense of community engagement. Through a competitive application process one candidate per year will be selected to work at the Red Lodge Clay Center Studios with a full waiver of the residency fee. An additional stipend may be available for selected projects to assist with travel and/or production costs during residency.
Dates of residency: Any time between December 1, 2014 and May 31, 2015
Apply through Slide Room
The grand prize winner of a month long Medalta residency will be announced at the opening reception @ Medalta on August 28th from 7-9pm. Let us know if you can make it! Make sure to check out juror Carole Epp's Musing About Mud blog for exhibition highlights and extended coverage on several selected spoon show artists in the coming months.
We have a Spoon Me event page on Facebook too, it's where we'll be
sharing sneak-a-peek spoon shots before the show goes live on the 1st.
Spoon Me's online guests will be directed from the www.medalta.org/spoonme
page to view the show on Medalta's new Pinterest page. ***Note this will be live online as of September 1st.*** Spoons can be
viewed and re-pined by other Pinterest users. The link on the photo
remains with the image and will take viewers directly to the spoons
purchase page which happens to be on our brand new Medalta online shop
that we are also launching with the spoon show. Our shop will feature
contemporary ceramics from our exhibitions, starting with Spoon Me, as
well as reproductions of historical Medalta pottery made in our Museums
At Medalta we are passionate about ceramics, from our clay industry past
to the contemporary ceramics community. Through this exhibition, in the
gallery and online, our goal is creating more space and opportunity for
contemporary craft artists to engage with a growing audience...and our
audience is eagerly awaiting this exhibition!
#1&2 are Leigh Wen: The line & meditative qualities of her
work are so inspiring to me. She can capture the sea in a squiggle better than
any other artist out there!
#3 is Simon Van der Ven: Just look at it! The delicacy, the
patience, & the skill required to create this work is outstanding and
something to aspire to.
#4 is Sandi Pierantozzi:
I’ve always been inspired by the whimsy &
movement of Sandi’s work- that and the fact that she uses slabs rather than the
wheel…I just love that!
#5 & 6 are me:
my life the sea has been a source of peace, reflection, fascination,
endless inspiration. I have spent countless hours on or beside it in the
meditations of beach combing or listening to the movement of the water.
Through form, surface treatment & glazing I hope for my sculpture
functional work to reflect some of my favorite qualities of the sea, as
my life-long enchantment with it.
MudFire presents Girl Parts, an exploration of all things GIRL,
whether they be sugar and spice or something more sinister. This show
includes tiles, mugs, pots, sculptures, and a wide array of color, style
This show has a bit of everything - from pretend boyfriends and
lovely lady postcards to inticing sculptures from Kyungmin Park and
Kirsten Stingle give us something a little more to ponder about
femininity. Come see for yourself!
Starting August 23rd - this work will be on view in the gallery and
online - we will be holding a reception celebrating these delightful
works from 5pm - 8pm on Saturday August 23rd. Kirsten Stingle will be
here to discuss her work.
Now open for applications: $4000 scholarship for your ceramic study in 2015
The Trudie Alfred Bequest Ceramic Scholarships 2015
The Scholarships are awarded annually and this year marks the fourth
round since it began in 2011. This bequest is open to all students
(currently enrolled), from second year onwards, of a ceramics
certificate, diploma or degree course (or an arts course with a major in
ceramics). There are 5 awards, each worth up to $4000. Applications for TTAB close 5pm, Friday 19 September 2014. The scholarships will be awarded in November 2014.
Valued at up to $4000 + 1 year membership of TACA ᐧ open to students
enrolled in their second or subsequent year of a ceramic program ᐧ
selection panel of three Australian ceramic artists from different
states ᐧ must be currently enrolled at time of scholarship award ᐧ open
to Australian citizens or those with permanent residency ᐧ selection
criteria: academic achievement ᐧ quality of ceramic work ᐧ rationale for
funding not previously received this scholarship ᐧ written report
required at end of scholarship period. Click HERE for an application form, terms and conditions.
Trudie Alfred (1922 – 2010) was a well- known Sydney potter and
teacher with a great passion for ceramics. She struggled financially to
sustain a ceramic practice in her early years as a potter and so, to
assist others in a similar position, she left a generous bequest to The
Australian Ceramics Association. Trudie specified that the funds be used
to support the work of students preparing to embark on a career in the
field of ceramics.
For further information, and AFTER you have read the Terms and
Conditions, please contact Vicki Grima at The Australian Ceramics
• Entry Fee: $30 per artist, up to three entries. • Work may not be larger than 16” x 16” x 16”.
• All work must be for sale. No single work may exceed $500 in value.
Artists will pay a 40% commission to the Gallery on all sales.
• Artist responsible for shipping cost to and from the Gallery,
shipping paid through UPS only, all work must include pre-paid return
• Digital entry only, JPEG format, 300 dpi and no more than 2100
pixels at the longest dimension. All files must be labeled with artist’s
first initial and last name followed by entry number (ie, e.smith01).
• The Morean Arts Center reserves the right to photograph exhibited
work and use these or the artists digital images for repro- duction in
both printed and electronic materials for publicity.
September 5, 2014 - Deadline to enter
September 12, 2014 - Acceptance notification
October 1, 2014 - Delivery of work, no later than 5pm
November 15, 2014 - Return of artwork
Juror: Matt Schiemann
Matt Schiemann received his MFA from Southern Illinois University
Carbondale. After graduation Matt became co-owner of St. Petersburg Clay
Company. He is an adjunct professor for St. Petersburg College and
Eckerd College as well as the manager for the St. Petersburg Artist in
Residence at the Morean Arts Center for Clay. Matt shows his wood fired
functional work nationally and has been published in numerous
Entry Form | Biennial Cup Show | October 1st thru October 31st, 2014
Please complete and email images to firstname.lastname@example.org with credit
card information, or mail with check or cash for entry fees no later
than September 15th, 2014, 5pm. Click here to download entry form
The Artist in Residence program was created to give up and
coming artists an opportunity to set up a studio in exchange for 8 hours of
studio technician support each week at the London Clay Art Centre.This residency program allows ceramic
artists to pursue their artistic endeavors while working in a state of the art
ceramic studio and contributing to the community of fellow ceramic
What the London Clay
Art Centre Provides
·Private studio space, 7 feet by 10 feet, electric
wheel, electrical hook-up, standard shelving
·24 Hour access to the studio
·Access to all equipment, (3 electric kilns, two
slab rollers, well stocked glaze kitchen, two extruders)
·Opportunities for sale of work in the retail
store and Annual Fall and Spring Sales
·Paid teaching and workshop opportunities
·Opportunities to be featured artist in the
·Participation in bi-monthly critiques
·Free attendance at workshops presented at the
LCAC, in exchange for setup and tech work during workshop (above and beyond the
8 hours scheduled work each week)
·10 Kilograms of reclaim clay a week provided
What the Artist In
·Commit to one 8 hour shift or two 4 hour shifts
each week of technical work.Shifts will be coordinated in conjunction with the Studio Technician and
may include tasks such as helping maintain a clean studio, loading and
unloading of kilns, maintaining glazes, slips, and clay reclaim.
·Spend a minimum of 10 hours within the studio
each week dedicated to personal work
·Process all personal work (ie. load and unload
kilns with personal work in them)
·Maintain a personal blog or website that the
LCAC can link to from its website
·Contribute one piece to the LCAC permanent
collection at the end of term
·Resident Artists are responsible for their own
Nevica Project would like to take this opportunity to feature some of
the beautiful work made by artist Kirk Mangus. Kirk was a leader and
mentor in the field of ceramics, serving as head of the ceramics program
at the Kent State University School of Art from 1985 until his death in
2013. Collected nationally and internationally, he was the recipient of
two National Endowment for the Arts grants, four Ohio Arts Council
fellowships, a Pennsylvania Council on the Arts fellowship, and a
McKnight fellowship residency at the Northern Clay Center in
We would like to give a special thanks to Eva Kwong, his widow, that helped make this exhibition possible. A portion of all the
proceeds will be donated to the Kirk Mangus Ceramics Scholarship Fund at
Kent State University. If you would like to make a donation, please do
so by sending a check to: Eva Kwong c/o School of Art, Kent State
Univ., 400 Janik Dr., Kent,OH. 44242. It is a 501c3 account- all
donations are fully tax-deductible for the donor and it would benefit so
I should explain. This isn't so much a guest post as it is a "Carole asked to repost a great post from Carter's blog" post. He didn't write this specifically for musing.... Carter Gilles is one of my favorite writers and thinkers (and provocateurs). I've long been inspired by his view of things (whether I agree or not) and his thoughtful and poetic means of getting his ideas across. Last week after movie day here on musing, Carter had some thoughts. Once again I was compelled by his writing and only wish I had more time to enter into longer conversations with Carter cuz I like how his brain works. I love the discussions and debates he's having. My thoughts are so much less focused and cohesive. They are interrupted, infantile and stalled. Carter seems to fill alot of those gaps in my thinking for me. I hope you enjoy his writing as much as I do. Please take the time to visit his website for more and to follow him on facebook as well since sometimes those amazing discussions happen over there as well.
Do you exhibit your art? Are you an ‘art’ exhibition-ist? Are you, in fact, an exhibitionist?
Does exhibition live comfortably in your psyche, in your soul? Is
putting yourself out there for public consumption nothing awkward,
nothing against your normal persona, and possibly even something you
enjoy? Do you like strutting your stuff and scrambling for your 15
minutes of fame? Is living in the limelight exactly where you need to
When you put it like that it becomes an interesting question.
We live in a world where extroversion is taken as the norm.
Introverts are often seen as people with a problem. They like keeping to
themselves more than is healthy and don’t fully embrace La Dolce Vita.
They need to be ‘fixed’, as if something is broken inside them. An
affliction. Introverts are often happiest when they are by themselves or
with small groups of friends, their family, or partner. Crazy, right!
Its not that they can’t be sociable on occasion, act casual in the midst
of a social storm, but that doing so is not always agreeable to them or
in their own best interest…… Surely we must save them from themselves?
So we have this default in our society that often misunderstands the
introvert as somehow deficient, as somehow abnormal, as somehow
anti-social. And the parallel to how society understands artists can
quite easily be drawn. We expect artists to be exhibitionists.
We think that if you are not putting your work out there with the
abandon of extroversion you are somehow doing it wrong. Starving artists
are almost a type of sociopath. They just don’t understand that lurking
in the shadows makes them dangerous. They don’t understand that wearing
the occasional lampshade at parties is proof that you belong to
If your ‘Exhibition Record’ doesn’t include things like “Danced
partially naked at the Normal Bar in front of 150 strangers, February
12th, 1994″, “Got sloppy drunk and proposed marriage to five marginal
acquaintances, June 23rd, 2007″, or “Sang the entire Oklahoma song list
in the subway train on the way to work, November 3rd, 2012″ somehow the
word is that you are missing the point. Don’t let the highlight of your
‘Exhibition Record’ be tame things like “Smiled at a complete stranger
as we crossed paths, September 27th, 1972″. Right? More is better.
Ostentatious extroversion trumps milquetoast introversion the way the
world plays out.
We tend to think that the ‘normal’ way of being an artist is that we
get up on the commercial stage and flog our wares. We expect an artist
to be this almost flamboyant purveyor of their own creativity. The good
ones are always the eccentric ones. ‘Selling it’ means getting out there
and putting on a show for the customers. The work doesn’t speak for
itself (quite often), so we have to spin the stories, weave the yarns,
and tell the tall tales to get our creative progeny successfully to
But don’t ask an introvert to do that naturally (or often well). Its a
model built on extroversion and exhibitionism…… The values of the
marketplace are the qualities of extroverts. That seems important to
Astonishingly, perhaps, not every artist is a natural extrovert.
Being a professional artist simply means that for some of us there are competing values
in our lives. And our occasional native introversion may be called on
to bear the burden of sacrifice. You can’t sell work unless you put it
out there, and there may be nothing more contradictory to staunch
introverts than doing so. This seems worth pointing out. It seems worth thinking about.
Not that every artist is an introvert at heart, or that even the
introverts among us are all as threatened by the seeming need for
‘professional extroversion’. I’m just pointing out that the
environment of the selling arts is not based on or even nurturing to the
psychological make-up of many folks who are artists. If we haven’t looked at the situation from this perspective we are likely missing something that is important.
Society operates on all sorts of defaults, and our expectations and
understanding are often ruled by how these divisions are constituted.
Maybe we need to investigate a bit deeper.
Take for instance the prejudice we seem to have concerning our inhibitions.
To be inhibited means “unable to act in a relaxed and natural way
because of self-consciousness or mental restraint.” Its a restraint of
something that is assumed to be our natural state. Being
“self-conscious” is somehow the wrong state of affairs. And inhibition
is therefor something that is looked at as being unnatural. We expect ourselves to be fully free in exhibiting ourselves. Unselfconscious. Do you see where I’m going?
There is some confusion in our language about the ins and outs of our
world, interior and exterior. ‘In-‘ and ‘ex-‘ divide the world, and as
with other divisions we often seem to attach values to the way things
fall out. ‘Good’ and ‘bad’ are qualities assigned to things according to
how we feel the world is supposed to be. And in a world dominated by
the values of extroversion is it any wonder that the ‘in-‘ values take
such a beating……? Does that make it ‘right’?
Here’s another way of looking at inhibition. In a sense inhibition aligns itself with the values of introverts. Being self conscious is the natural work of introverts. Its not an unnatural condition and its not the defeat of more objectively valued exhibition. Being self conscious is one of the things that everyday ordinary people justifiably do.
Of course I’m not suggesting that some inhibitions are not bad for
even the least exhibitionistic of us. But then some forms of exhibition
are not that great either. If there is a flaw in extreme exhibitionists
you might say that they are not self-conscious enough. You simply cant
judge a quality on the extremes only (and if that last
statement isn’t sufficiently meta, I’ll have to try harder….).
‘Inhibition’ shouldn’t be a dirty word.
Inhibition means keeping it close, not getting carried away with things that are not integral. It means choosing the values that are specifically internal. It points to a direction that is inward. It places priority on the inherent qualities of our personality and experience. It means a focus on the realm on insight and imagination.
‘Inhibition’ has gotten as bad a rap as ‘introversion’ if not worse. It
might be better if we thought of ‘integrity’ when we refer to
And if we look at it this way is it any wonder so many natural
introverts are drawn to making art? Don’t we often see art as being
something intimate to the maker? Isn’t an activity that asks us
to sit in often quiet solitary contemplation and investigation as the
basis of practice a natural sanctuary for those with introverted
inclinations? Isn’t an artist’s studio a refuge from the hurly burly of
the outside world?
For instance, in today’s world we see art functioning as a way of
discovering who we are as individuals. These are values that introverts
seem especially inclined towards. We look inside and see how
that manifests in the conditions of our world. We bring forth ideas and
imagination to discover our own place in the world. We discover our
path. And its because so many of us are drawn to the contemplative side
of introversion that art is such a haven for our creativity. We discover
who we are by uncovering the language of the things that move us. What
things matter? How do I see the world?
But art wasn’t always like that. And people throughout history didn’t
always face such existential confusion about their role in the world
and their purpose. Creative expression wasn’t always something we do to
figure out who we are, to write our own destiny. This seems as much an
accident of history and culture as any other.
Take this brief history of Western art and craft.
(Thanks to Carole Epp for sharing this!)
The point being that until Michaelangelo made creativity a function
of individual genius (exceptionality) and celebrity things were
operating on a much less extroverted basis. Tradition ruled ‘art’
production, and the individual craftsman was more dedicated to
expressing part of that culture. They expressed themselves as part of
that culture. Artisans were the keepers of value, preservationists
rather than gymnastic exponents of novelty. Expression was something
internal to a culture. An impression of that culture, one might even
say. Expression was defined by its internalism. Identity was
also much more focused on belonging to the group than in standing apart
from it. The individual as representing that culture rather than
something uniquely risen up from it.
Times change. Only as creative expression took on the character of
the unique and exceptional did art seem to break away from its
substantial grounding in tradition. And looking at art as requiring
this ample extroversion only pays deference to an historical cultural
accident and not some objective necessity. The door to extroversion was
thrust widely open as soon as we made celebrity part of the equation.
And that seems worth thinking about……
Signature style, brand, selling the sizzle, reputation, celebrity…
all these things have extrinsic value written boldly across them. And if
the current world, the status quo, seems to value these things more is
that a lesson we all need to respect and obey? Are there
equally worthy requirements of intrinsic motivation that escape this set
of values? And are they less precious, in and of themselves?
I sure hope not! But maybe we need to do a better job of figuring
this out. Maybe we need to look at the problem a bit closer than we
(perhaps) often do. Something to think about at least………
for this exhibit was the well-known and highly respected Harris Deller, Emeritus Professor of Ceramics at
SIU-C.I do not envy the hard
choices Harris had to make in selecting the fraction of artists accepted into
the show, and even more difficult deciding upon the winners.
exhibit’s 86 pieces represent a wide breadth of contemporary styles from sculptural
forms and architectural structures to innovative surface effects upon more traditional
forms.What they share is a
passion for creativity.Carole Epp said "The show is amazing!" and I agree.
The Best of
Show prize winner was an honor split between CJ
Niehaus and Rob Boryk. As part of the award CJ
and Rob will have a solo exhibit in 2015 at the M. G. Nelson Family Gallery to highlight
their unique artwork.
CJ's winning piece, Exemplara, is a
wonderful fusion of drawings of nature and childhood memories with expressive
about her work, CJ responded, “My ceramic vessels contain altered meaning and
memories, referencing themes of home and ritual.The use of underglaze pencil allows for the tenuous link
between perceived reality and nostalgia.”
Rob's winning piece, Split
Composition, is a formidable structural piece of ceramic art that quickly
captures one's attention.
of his thought process when creating his piece, Rob Boryk responded, "In
my work I attempt to create pieces that are complex but not complicated. In my
compositions I utilized the way elements relate to one another create interest
that engages the audience inviting them [to] explore the work."
won the First place award for his piece, Icarus.Other prize winners included: Sarah Kandell-Gritzmaker,
Paula Diaz-Sylvester, Carrie Gibbs, April Felipe, BJ Watson, Emily Franicola,
Jeremy Brooks, Miriam Loory Krombach, and Jim Gottuso.
of Influence | Contemporary Ceramics” exhibit is currently on display at the
Springfield Art Association's (SAA) newly remodeled M. G. Nelson Family Gallery
in Springfield, IL and online for purchase at the SAA’s Shop.The exhibit
opened Jul. 18th and continues through Sept. 6th; so make
your travel plans before this show ends!
"Beauty and Natural Forces: Part II" by Sarah McNutt
Year: 2014 Location: Solana Beach San Diego, CA Materials: Unfired mold clay Measurements 3' x 1' x 5' feet
work of a pair of sister pieces exploring the fleeting and controlling
nature of the idea of beauty when subjected to natural forces. This work
was handbuilt at San Diego State University, from unfiredable junk
clay, and allowed to disintegrate over a few hours in the ocean. It is
subjected to sun, waves, salt, and sand leading to it's ultimate