Arkansas based artist Linda Lopez –influenced by mundane objects and the everyday– creates ceramic objects that almost appear to grow and propagate. Her squat, globular forms sprout rounded appendages and elaborate trellis-like crowns. The artist displays these objects in carefully orchestrated arrangements with a distinctly domestic atmosphere.
Cristina Tufiño is a Puerto Rican artist best known for the installations and photography she creates inspired by a social debris. Tufiño gets her inspiration from the social surroundings. Cristina’s expression comes in a form of certain rearranging of cultural products as if they were her very own artistic material.
Lee Yun Hee creates narrative ceramic pieces inspired by literature and story telling. She uses both Western and Eastern influences, creating a style of her own that is striking, unique and undoubtably contemporary. Her work is fragile and flawless, almost creating an aura of effortlessness. She uses her work to reflect upon stories of everyday people; their struggles, fears, hopes, and anxieties.
Hee’s work is mystical and fantastic. Though balancing modern, classic, Eastern, and Western styles, she has creating an epic body of art that is honest, profound, and truly unique. Her work acts as windows into her own version of a fairy tale; she is able to re-create morality stories within her own framework.
West Virginia-based artist Brett Kern sculpts these incredible “inflatable” dinosaurs and other objects out of plaster. Kern sculpts his own molds out of clay and uses glaze to emphasize his materials’ depth and details.
Pop culture has always influenced Kern’s work, and these faux inflatable sculptures are no exception. One of Kern’s first memories as a child was being given an inflatable dinosaur at the hospital for behaving while his mother gave birth to his sister. It’s this playful, childlike wonder that informs the bulk of his work, and the forging of a balance of fragility and buoyancy.
UK based Hitomi Hosono is a ceramic sculptor who studied pottery in Kanazawa, Japan and Copenhagen, Denmark. Ever since then she’s studied the botanical forms of leaves and flowers she found in her garden. She allows herself to be consumed by the legion of small, intricate details present in every leaf.
Often monochromatic, the works are focused on carved detail rather than color—repetition of form making each piece uniquely beautiful. The level of detail she’s able to wrestle from her porcelain sculptures is astounding. Every fragment of her botanical-inspired forms screams with intention, whether it’s in the finely-chiseled and painstakingly-researched anatomy of the plant or the mesmerizing colors of her glazes, which make the forms look equally organic whether they’re in cream and orange or black.
Crystal Morey (previously featured here) takes inspirations from an alternative upbringing where she closely connected with the natural landscape around her. Living in rural Northern California shaped her perspective on nature and how humans interact with land, animals and each other.
Now living in an urban environment, Morey aims to show our relationship to the world around us through the fragile medium of porcelain. With this delicate material she creates a heightened sense of urgency and stress, commenting on our human evolutionary path.
Argentinean visual artist Claudia Fontes has been based in England for the past 10 years. She studied arts at the National School of Fine Arts Prilidiano Pueyrredón in Buenos Aires and Art History at Buenos Aires University.
Fontes explores through her actions, objects and research the poetic space and alternative modes of perception of culture, nature, history and society that emerge from processes of decolonization, be they personal, interpersonal, or social. Her white figures are gripping each other tight as they are transfixed/formed into fungus like growths and spores in an eerie series.
Illustrator Jack Mears has a thing for silly dogs, mostly sculpting them into ceramic figures or drawing pictures of them. Despite completing an illustration course, Mears found himself increasingly drawn towards sculpture.
Mears’ ceramic sculptures have tiny dog heads on human-like bodies with breasts and butts, sometimes in typical dog positions, other times sitting upright and cross-legged, or performing a difficult backwards bridge yoga pose.
Australian artist Alan Constable is both a painter and a ceramicist. His ceramic works reflect a life-long fascination with old cameras, which began with his making replicas from cardboard cereal boxes at the age of eight. The sculptures are lyrical interpretations of technical instruments, and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Constable’s cameras can be viewed as extensions of the body, as much as sculptural representations of an object.
It may come as a surprise to people unfamiliar with Alan’s story to learn that he is legally blind (with limited tunnel-vision); and also deaf, which makes his world all the more internal and contained. As observers we can only project our own perspectives onto Alan’s work, but one could speculate that his physical challenges have defined his extraordinary artistic abilities.
Alan’s cameras emphasised the handmade, intensifying and celebrating the imperfections associated with the human touch. None are perfect, nor exactly to scale, but it was exactly these qualities that resonated with and engaged audiences.
American artist Jason Briggs creates bizarre ceramic sculptures. The pieces are white skin toned and covered in hair; part of his works appear to be human skin while other portions are distinctly man-made forms like upholstery. Made of porcelain, hair and steel, his handbuilt sculptures seem to resemble the human body in an abstract way with strong sexual references. Despite their grotesque forms, each piece has an endearing name such as ‘Angel’ and ‘Baby’.
“It’s up to you to label them: sculpture, fine art, fine craft, ceramic sculpture, figurative, abstract, surrealism, eroticism, non-traditional, biological, fucked-up, pornographic or, worst of all, decorative.” Jason Briggs
Though his objects contain strong visual references, he is more interested in the implied tactile ones; the things that stir in him a compulsion to touch. Beyond other external inspiration lies this basic, primal impulse. He recognizes – and acst upon – a profound desire to push, poke, squeeze, stroke, caress, and pinch. Briggs intends for his pieces to invoke a similar sort of temptation.