WMF. Linda cesta ou centro de mesa em metal espessurado a prata, da famosa manufatura alemã WMF, com o original recipiente interno em cristal lapidado à mão, período Art Deco, peça catalogada.
Originally from the outskirts of Montreal, Chaach was introduced to ceramics as a teenager. Following a pottery apprenticeship in southern France she moved to British Columbia. Her appreciation and love of pottery was always there, surfacing when time permitted as she worked as an Environmental Health Officer in Nelson for 20 years. In 2014, Chasch attended the KSA ceramics program and has been following her passion potting full-time at her beautiful home studio in Harrop. Working mainly with mid-range stoneware she strives to give her work depth by layering several glazes, using an electric kiln programmed with a slow cool cycle. She produces a wide variety of functional wares both on the wheel and hand-built. Always striving to discover new and wonderful glaze combinations Chasch’s work is an ever-evolving playful discovery of the endless possibilities of pottery. #ViewPointArtGallery#kootenayartist#NelsonBC#bcartists
1 48 hours ago
Artist Spotlight: Aslı Çavuşoğlu @aslinda
Selected by Selin Ciftci @letraslusas
Aslı Cavusoglu is a Turkish artist based in Istanbul, Turkey.
In her practice she puts emphasis on research and narratives. She follows the traces of cultural and historical facts exposing how they are transformed, represented, and interpreted by individuals.
This presentation focuses on her 2013 exhibition The Stones Talk in Istanbul.
The following text has been taken from the artist's website:
The Stones Talk consists of 71 objects that are the reconstructions of archaeological artefacts. The archaeological artefacts selected for the exhibition were discovered at various excavation sites in Turkey. For this exhibition, Aslı Çavuşoğlu produced copies of a selection of 71 study pieces. While producing the copies, she used original materials such as wood, bronze, glass, iron, mosaic or ceramic. The artist then completed these pieces into new “wholes”, reconstructing them with a diverse range of materials including ceramic, rubber, epoxy, plexiglas, felt, volcanic rock, leather, and foam.
"I was thinking about how other narratives can be employed or how other display methods can change the story these objects are telling. The name of the exhibition is paraphrased from Freud, actually. Freud was using all these archeological objects, small idols, showing them to his patients and asking them to interpret them, and there, of course, they were not in a museum. They were just on his desk. So then, he writes this very beautiful lecture, “The Aetiology of Hysteria” (1896), which he concludes with a Latin phrase, “Saxa loquuntur!”: Stones speak. He says that it’s never the object speaking. It’s our ideas, and we make them speak."
. #artsculpture#sculptureart#contemporarysculpture#installationart #contemporaryart#contemporaryartist#contemporaryartists#abstractart#turkishart#artemoderno#artcontemporain#artecontemporaneo#kunst#artcurator#arteabstracto#zeitgenössischekunst#artecontemporanea#sculptures#postcontemporary#modernart#contemporaryartgallery#contemporaryartcurator#artinstallation#artinstallations#installationartist#postminimalism
Michel and Andrée HIRLET -
Two Perfectly Attuned Ceramicists .
Together, their lifespans total of 166 years. Michel and Andrée Hirlet have inhabited the same city and worked in the same studio since 1963. It’s said they’ve created more than a thousand pieces together over those decades. Some twenty of these works will be presented at Dobrinka Salzman Gallery in NY, fifty years after the first group show Le Grès Contemporain introduced them to visitors of the National Museum of Ceramics in Sèvres, France.
ANDRÉE and MICHEL HIRLET .
OPENING 6-8 pm
Dobrinka Salzman Gallery
532 W 25th St
. #hirlet#andréeandmichelhirlet#ceramics#sculptures art #contemporaryartartists#gallerydobrinkasalzman#532w25st
As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself—so like a brother, really—I felt that I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.
Cit Camus 'the outsider / stranger'
Carbon polymer. Ground Charcoal. Refined Gesso.
3(16" x 9") Gallery wrapped Stretchers
34 x 20" Bespoke 'Shou Sugi Ban' Framed Triptych