Cub Creek, February 2012 January 31, 2012 11:00

An Exhibition by the Resident Artists of the Cub Creek Foundation of Ceramic Arts

January 31 – February 26

First Friday Reception, February 3, 5–8 pm

John Jessiman

 

I started my education at Ball State at a time the aesthetics was dominated by abstract expressionism. My heroes were, and to some extent still are, Robert Motherwell, Wilhelm DeKooning, Franz Kline, Helen Frankenthaler, Joan Mitchell and Tapies. After committing to clay as a medium I was deeply influenced by Pete Volkous, Kitaohji Rosanjin and Kanashiga Toyo all who moved clay much as the expressionist painters approached painting. Over the years I, as all serious artists, have struggled to find my own voice and yet those early influences continue to dominate my work. I respond to clay forms that clearly show the hand of the maker. Visit John's website

 

Lane Kaufman

I make art because I love reflecting my aesthetics and values through physical objects.  For me, I consider my work successful when it is simple, graceful and playful.  But I especially love it when my pottery makes people curious:  curious about how I formed it, how it was glazed, or why I made it the way I did.  (I think that’s the teacher in me.)  If people are intrigued enough to pick up and examine my pots, I feel great--though that’s nothing compared to the satisfaction of watching people using and enjoying them. I love working with clay because of the intimate nature of the process.  While my focus on wheel-thrown altered vessels does require the use of some tools, the skills needed are primarily physical ones.   Working with clay is more about teaching your own body to move than actually moving the clay.  Because the work itself is a tactile, physical experience for me, one of my favorite aspects of pottery is when the product is functional and is part of daily life. Function is an important part of my work, because it reflects my values and gives direction to the process of creating a piece.  I do not see function as a hindrance to the form; I see it more as a guide to help the design process.  My art is the best of me for you: a physical representation of my values and aesthetics, made with my physical being for use in your everyday life, to make it more beautiful. lanekaufmann.com

Mitch Iburg

Mitch Iburg received his Bachelors of Arts in 2011 from Coe College in Cedar Rapids, IA where he  assisted in the design and construction of the school's first wood firing kiln. He has participated in several national juried exhibitions throughout the country. Currently, he is a ceramic artist in residence at The Cub Creek Foundation in Appomattox, VA. During his residency he has helped build an 80 cu ft anagama and a wood fired soda kiln. His research of native clays and wood firing fuel a desire to create work that reflects the essence of his location.

mitchiburg.com

Kendra Sparks

I use a slip trailing method of drawing onto clay in conjuncture with other print making methods, referencing images of a personal and public nature, on functional ware and sculpture.  I have an obsession with signs of industry and illusions of safety. I’ve grown up within the context of the industrialized model of consumer culture.  A conveyer belt outlook that places little or no value on the consequences of our production mentality. My work is not exempt from this industrialized model of thinking.  My place in this culture has become defined by the symbols I choose to juxtapose on my work.  Symbols that are inherent to our society, which have become neatly bound to physical and mental markers in our daily lives,  constructing our geographical and psychological landscape.  By way of this symbolic language, I find narrating on forms a way to find personal meaning and purpose within the context of my daily life.