Give your Eastern Market Flower Day cache a beautiful home with a ceramic planter by Annie E. Dennis, the featured artist of Pewabic’s Inaugural Kiln Pad Pop-Up Exhibition, 1-4 p.m. Sunday, May 21.
Works are available for purchase on a cash-and-carry basis at this one-day exhibition, rain or shine.
A Cranbrook Academy of Art alumna and Pewabic Education Director, Dennis explores and combines her love of ceramics and gardening, both of which feed Dennis’s interests with their combination of science and art and essence of patience, creativity, and coping with loss.
“While examining these parallels I found a simple place for a plant to live,” says Dennis, whose planting containers will be the focus of the exhibition.
This is Pewabic’s first pop-up exhibit. says Darlene Carroll, Exhibit Curator, who sees it as a solution for limits placed by calendar and space.
“It seemed a logical solution to take it outside,” says Carroll, who selected Dennis as its inaugural artist. “We’re trying something that had never been done before. I think it’s going to be a fun experiment.”
Upcoming Kiln Pad Pop-Ups include Didem Mert, June 24, and Troy Bungart, August 5. For more information, contact firstname.lastname@example.org.
This is the final installment in a series of posts highlighting artists from Dysfunctional, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
hands are like flowers (We Can Be them Too), 2016
Crocheted recycled plastic, reclaimed stoneware, acrylic, glue
Natalie Kuenzi’s work draws upon both the pristine and the discarded in nature to encourage viewers to reimagine what is beautiful in both natural beauty and that which is discarded.
Kuenzi earned a Bachelor of Arts in art history and a Bachelor of Fine Arts in ceramics from Western State Colorado University and a Master of Fine Arts from Tyler School of Art at Temple University in Philadelphia. She has exhibited at the Gallery at Delaware County Community College in Philadelphia, the Katzen Art Center in Washington, D.C., and at Gallery 126 in Gunnison, Colo., among others.
Aluminum can tabs and jump rings
Shani Richards explores materials, objects and body adornment throughout her work including “Bulletproof,” a 2015 piece resembling modern chainmail that includes 36 x 30 inches of aluminum can tabs and jump rings made to look like a zip-up hoodie, placed on the ground to resemble a chalk outline. The piece is said to represent gunned-down Florida teen Trayvon Martin.
Richards received her Master of Fine Arts from the State University of New York, New Palz in 2016.
These are the fourth and fifth artists in a series of posts highlighting Dysfunctional, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
Christina Erives creates objects that reflect the traditional artistic techniques of her Mexican heritage in part because she hopes to prevent the processes from being lost.
“Through the use of various objects I hope to render a narrative that seeks to embrace and celebrate these rituals of a new generation,” she explains. “I enjoy seeing these objects evolve through the use of clay just as a story of an event can change over time in the ways of telling it. Ceramics as a material has permanence; it is one of the ways we were able to learn about ancient cultures. There is beauty in these traditions and my aim is to make a mark in my time that will be preserved in the history of ceramic objects.”
Erives earned a Bachelor of Arts and Master of Arts from California State University and her Master of Fine Arts from Pennsylvania State University. She was a visiting artist at Kansas City Art Institute and a resident artist at Red Star Studios in Kansas City, Mo., and was Mexican Ceramics special artist-in-residence at the Arquetopia Foundation in Puebla, Mexico, among others. Erives currently teaches at Belger Arts Center in Kansas City, Mo.
Nine Zero One, 2017
Amy Shindo builds upon her culinary experience to create art from what others might shrug off as mundane.
“My work investigates the subtle intersections of life, labour, sensation and creativity to question how objects and ritual can add new dimensions to the mundane,” she explains.
“I methodically approach my chosen materials, which often bear little or no resemblance to the products they will become. My aim is to transform the raw into experiences that reflectively highlight the potential hidden in things, and add freshness to life.”
Raised in a restaurant family and with formal training in the culinary arts, the Ontario, Canada, native often combines her culinary and clay interests. She studied ceramics at Sheridan College in Ontario, and served as Artist in Residence at the Ceramic Arts Research Centre, at the University of Sunderland, England.
Scott Weaver wanted to do something special for Pewabic Pottery and for Detroit, to honor where he got his start and the city’s current vibe of revitalization.
An artist in Pewabic’s Gallery of North American Artists, Weaver releases his new 6 x 12 inch Detroit Skyline Welcome tile featuring the city skyline above an Arts & Crafts style welcome. The release includes a chance to meet Weaver as the first in Pewabic’s visiting artist series Saturday, April 29th, 11 a.m.-3 p.m.
“With the revitalization of Detroit I thought it was a good fit,” says Weaver, adding that his history with the pottery inspired him. “I’ve had this relationship with Pewabic and that’s where I started, of course. I wanted to do something for Pewabic.”
After years as a stonemason, Weaver started taking classes at Pewabic when his chiropractor made the suggestion in 1996. He stayed with it four consecutive winters and by 2000 established Weaver Tile, where he creates high-fired decorative tiles in his distinctive naturalistic style.
It’s not entirely unlike stonemasonry, says Weaver, adding that he still works with a lot of fireplace surrounds. A lifelong nature-lover, Weaver’s tiles often include designs of herbs, wildflowers, animals and bugs, as well as a series that reflects on people enjoying the outdoors.
“I’ve spent my entire life out in the fields in the nature and the fields,” he says, describing a childhood of birdwatching and foraging, raising butterflies and moths. He and his wife currently live on 80 acres on a prairie fen at the headwaters of the Grand River in Horton, southwest of Jackson “We have lots of inspiration.”
His studio is in an 1870s post-and-beam barn that he purchased, tagged, dismantled and reassembled two miles away on his property.
“I was looking for a studio with ambiance,” he says. “It’s a cool building. I have parts of ten different barns in here to get the pieces I needed.”
This is the third in a series of posts highlighting artists from Dysfunctional, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
Betty’s Delight, Brown, Red and White, Arrangement No. 1, 2017
“The domestic object as souvenir” is how Margaret Kinkeade sums up her work, which often reflects upon the nature of collections.
In Betty’s Delight, Brown, Red and White, Arrangement No. 1, Kinkeade translates fiber art quilt patterns and the concept of transmitting familial traditions, well wishes and meaningful heritage patterns into an arrangement of 40-some 6 x 6 inch mid-range stoneware, red stoneware and porcelain with underglaze plates with which visitors interacted at the exhibit’s opening.
“The quilt arrangements in my most recent body of work only come into being as a result of their use. As the participants engage in the breaking of the bread with strangers and friends alike they became active participants in the shaping of the ‘quilt’ comprised of the plates from which they eat,” Kinkeade says.
Kinkeade’s concept is for participants to select the position to hang each plate on the gallery’s wall, thus creating, according to Kinkeade, “a fingerprint of the moment, the ritual, and the gathering with no two arrangements alike.” Of the 42 plates in Pewabic’s gallery, several remain unhung.
Kinkeade focuses on American folk art and traditional craft, particularly those historically created by women. She also explores human nature’s draw to collect objects of personal or sentimental value.
“In my experience, collecting acts as an attempt to combat the temporality of a moment and the souvenir acts as a surrogate to re-experience. Even though the event inevitably falls victim to time, and it’s fluid effect on our recollection, the souvenir acts as a tangible connection to something intangible. These items are not documentation of the events themselves, as exists in a photograph, but shells which hold the memory of the moment within its walls,” Kinkeade explains.
Kinkeade earned a Bachelor of Fine Arts in printmaking from the University of Oklahoma and a Master of Fine Arts in ceramics from Pennsylvania State University. She has exhibited at the Epsten Gallery, Overland Park, Kan.; The Clay Studio in Philadelphia; and at Burlington City Arts, Burlington, Vt., among others. She teaches at the Kansas City Art Institute’s School for Continuing and Professional Studies in Kansas City, Mo.
This is the second in a series of posts highlighting artists from Dysfunctional, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
T-Shirt, detail 2016
Sebra Debrecht uses “tile fabrics” — interlaced porcelain, polyester string, jump rings and clasps — to encourage viewers to consider ceramic’s typically immoveable identity in her artwork T-Shirt.
“I wanted to produce art that was active and changeable to its location, either through preexisting architecture or human interaction. The malleability of these pieces allows the work to dwell in most settings by warping to any site while also manipulating the space,” says Debrecht, whose interest centers on how her pieces will influence a viewer’s connection to the space around it.
Debrecht’s work is influenced by traditional Islamic tile ornamentation and the complexity created by its repetitive simple forms. She developed her techniques working with Herend porcelain, founded in 1826, while studying abroad at the International Ceramics Studio (ICS) in Kecskemét, Hungary.
“Identifying this complexity, my work deconstructs and simplifies these patterns into my own personal interpretation,” she says.
The Dallas native received her Bachelor of Fine Arts in ceramics and art history from the Kansas City Art Institute before joining The Clay Studio in Philadelphia.