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AVI ARENFELD I design and make functional ceramics that can be used daily, or during a special occasion. Using the surface to create a landscape of thoughts, each piece is treated as a new canvas. Inspired by the mediums rich history the materials and techniques I employ are rooted in tradition. The product however is the result of the absorption and regurgitation of numerous contemporary influences. |
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ALLEN CHEN It is commonly held that as human beings we are more interested in ourselves than anything else. I remember rejecting this at first because I've always thought it was the other way around: that human beings are adventurous, creative and curious explorers. It is ironic that both statements are true, because the best way to understand ourselves is to understand the world around us. This dualistic way of thinking is how I've learned to understand and make art. Art to me is a conduit that connects the inner world with the outside, and I understand it through the language of dualism. My work is the result of my curiosity of the world around me more specifically what I have discovered in the world within myself. |
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SETH COLTER There are significant visual and tactile relationships between food and drink and ceramics. The objects I create reflect my understanding of the history of functional ceramics and the history of cooking. I first came to pottery in the kitchen. My work speaks of human interaction with utilitarian objects, as it ends up in domestic settings. I want to make ware that is attractive, and which enhances cooking and dining experiences. Daily I work with clay, and this practice allows these ideas to evolve. |
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ARIE GRIE Arie Grie hails from Kansas where she acquired a BFA in Ceramics from the University of Kansas. She's taught her handbuilding techniques in Chicago, IL, at LillStreet Art Center, and at Wichita State University. She's participated in several national and local shows. Currently, Arie's handbuilt work explores the enigma of intimacy. These sets shape a dialogue between objects and between object and user. Each item functions individually and fits into a structure of multiple components that manifests a more complex personality/reality much like the family and social structures that shape our existence. By using sets of multiple forms designed to fit together, a dialogue shaping the quality of intimacy between objects and between object and user is defined. |
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NATALIA GRIGORIEVA Natalia Grigorieva – born in Moscow (Russia), graduated from the Academy of Press, Institute of Polygraphy (Moscow, 1994), studied at Institute Parisien de Langue et Civilisation Francaises (Paris, 1995), and worked on probation in the school of design in Nuova Academia di Belle Arti (Milan, 1996). She contributed to thirty-five one-woman and many group shows (1994-2009). The last group show – October-November 2009 – Grand Marche d`Art Contemporain, Paris. She also ontributed to several charity auctions including the Operation HOPE (help for children suffering from central nervous system afflictions). She has designed nearly 120 books and book series, booklets, calendars, magazines, catalogues, etc. She is a member of the Moscow Union of Artists. |
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RYAN HURST I see my work as trophies meant for a mantle, commemorating issues that reflect the way we live. The ancient Greeks painted imagery on their vessels that recorded and commemorated their society and culture. My imagery represents the contrast between a beautiful form and a crude image. I walk a line between issues of external/internal control and my personal struggle with my perceptions of the world. I see the creation of my work as my own version of media propaganda. |
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ELLEN MARSH Ellen Marsh is an internationally recognized surface designer and artist whose work has been featured in "Design, A Lively Guide for Artists and Craftspeople," "The Fiber Arts Book of Wearable Art," and "Fiber Arts Magazine." She has owned Studio E, a wearable art company since 1996. Her new company, Studio E West, is devoted to the exploration of surface design for wearable art, interiors and fine art. |
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HEATHER MCFADIN (Metalsmithing) The objects I create borrow inspiration from the natural world. This last year I spent exploring the diverse environments of the Mendocino coast as a naturalist. Focused on observing the small details that fascinate with endless variety, as well as the interaction of each and every thing achieving a balance that creates the whole. I, as an artist, enjoy the realization of my reflections on nature becoming a beautiful part of everyday life. |
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LINDSAY MIS' |
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EVA STRAMER NICHOLS |
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CAROL FREYA SOTH Carol's work uses an eclectic mix of handmade papers, found objects, silkscreen printing and collage. Her latest show was called "The Altared She: A collection of Folk Art, Whimsy and Shrines." Her current project is an almanac that uses images of goddesses, the tarot and other emphemera. Carol has lived for the past 20 some years in the high desert of southeastern Arizona and is currently traveling, doing art, card readings and looking for a new home. |
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SUSAN MCNAIR STRAWN Susan McNair Strawn (second year fine arts) from Oroville, CA, received her education in the arts by taking classes and over 30 workshops in California and Oregon. Seascapes are her favorite subjects to paint. She has taken seascape workshops from E. John Robinson with whom she credits as having the most influence on her work. This year she is painting in acrylics and mixed media along with her oil paints. Susan’s work has been exhibited at Mendocino Art Center, Chico Art Center, Ave 9 Gallery, and Chico, CA, Paradise Women’s Center and is located in private collections. |
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DIANE REED VEACH I have been studying and practicing sculpture in many forms for over 15 years. I became interested in silversmithing during college and have pursued a variety of materials since, including steel, copper, bronze, and glass. My current work explores the human figure and involves various processes including gesture drawing and painting, sculpting in clay, and bronze casting. Visit Diane's Web site. |
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CAROL WATKINS Finding surface decoration which is as loaded with subtext as the human form. Using the surreal while keeping the real. Creating empathy while maintaining mild confusion. Asking questions I don't entirely know the answers to or answering questions I haven't learned to ask yet. |
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CHARLES WILLIAMS |
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