Posit

A journal of literature and art

Kukuli Velarde

Posted on September 18, 2023 by Posit Editor

Native Hysteric Macuarra… Mixteca, México, AD 1250-1500 (2007)

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Artist’s Statement

I am a Peruvian-American artist. My work, which revolves around the consequences of colonization in Latin American contemporary culture, is a visual investigation of aesthetics, cultural survival, and inheritance. I focus on Latin American history, particularly that of Perú, because it is the reality with which I am familiar. I do so, convinced that its complexity has universal characteristics and any conclusion can be understood beyond the frame of its uniqueness.

While growing up my visual surroundings were always the same: contemporary urban and rural scenery against the monolithic presence of pre-columbian and catholic colonial aesthetics, both of which conform and deﬁne Peruvian landscapes. My identity as a person and as an artist is marked by them and my body of work often summons their presence. Art produced in colonized territories up to modern times is often developed by populations compelled to follow an aesthetics that doesn’t reﬂect them. It intrigues me how such imposition has been accepted and negotiated, and how art makers may preserve characteristics of their own aesthetics in spite of cultural alienation. I believe that my work continues the efforts that were initiated at the time of conquest by my ancestors in order to survive as culture. In my work I approach Pre-Columbian aesthetics searching for cultural and ethnic commonalities, claiming them as my heritage while engaging the audience in conversations about colonization and coloniality, contemporary history, social injustice and racism. I envision societies with symmetrical opportunities for their different aesthetics to blossom. I envision a pluriversal aesthetic landscape where we all have the opportunity to be ourselves without ethnic, racial or cultural labels that undermines the power of our artistic speech.

Many years ago I saw an exhibition of Rauschenberg’s work in Mexico. I found the exhibition, albeit strong in typical Americana references, unrelated and disconnected to my Latin American heritage, both culturally and visually. I believe I have a wealth of visual information that corresponds more closely to my cultural make up. Pre-columbian art is my most genuine aesthetic inheritance. It is what people who look like me created to their likeness, long ago, when they were the center of their own universe.

Included here are works from several series. For PLUNDER ME, BABY, I wonder what would happen if pre-columbian ceramics in any museum of the world were to wake up from centuries of sleep. What would they think or feel, out of context and stripped of meaning? What would it be for them to be prisoners in a beautiful display or stacked in captivity in an anthropological museum’s storage room? I imagine them in despair and fear, and overcoming their defeat; owning themselves, no longer victims but witnesses of history, transcending their own existence. The title of the series is a deﬁance, a teasing invitation to futile aggression, for they are beyond harm. Individually their titles are composed of racial slurs still very much in use in Perú and Latin America. There is a sardonic commentary following each of them, stressing common stereotypes and condescending social perception.

WAQ’AS AND PACHAMAMAS depart from my prior referencing of early anthropomorphic representations, and acknowledge and convoke entities to a conceptual foreground as hypothetical imaginaries from “otherness.” Respectfully acknowledging surviving pre-colonial entities such as Pachamama protects and retains “their” memory, which lends an opportunity for reinvention as a second chance, to align a historical narrative on decolonizing terms. Borrowing Wari aesthetics, “Pachamama” is not idol, but earth, an inclusive omnipresent entity. “She” is where plants grow and birds sing, even if suffocated under cement, never losing the capacity to support life. I aspire to inform and afﬁrm the ubiquity of non-Western entities, researching the geographical, and historical strata of archetypical landmarks, imagining and materializing their Pachamamas, rigorously informed by my ﬁndings.

A MI VIDA (TO MY VIDA) is a series of portraits of my daughter, who was conceived when I was 48. The idea of creating these intimate works came from anticipating the moment of separation, following American custom, in which children leave the house early in life. I give myself a chance to embrace her, forever, if only her efﬁgy. But A MI VIDA is more than that. Within the frame of our political landscape it speaks of the pain of a parent and child separated by force at the border of this country. A MI VIDA is an urgent plea for empathy and protection against cruelty. Each piece has been made to be carried by a mother’s arms, they don’t belong on pedestals, their ideal presentation/state is within our arms. A MI VIDA is also a performance. It consists of my offering these figures to the audience to hold, and help me appease their crying.

CORPUS engages with and confronts Perú’s colonial past, which reverberates in the construction of mestizo identity. The 15 sculptures that comprise CORPUS are entities who have survived for centuries beneath the guise of Catholic icons revered in the annual celebration of Corpus Christi in Cusco, Perú. Syncretic imagery blends pre-Columbian symbols and forms with European Catholic iconographies, asserting that these pre-Columbian entities were not vanquished, but blended with their Catholic counterparts, ensuring survival. Banners were commissioned to Peruvian artisans who craft traditional religious banners. The red tables reference legged structures carried by youths to rest the efﬁgies on when not in motion in the procession. CORPUS is exhibited with an installation of ﬂash lights and sound that seeks to provoke feelings of exposure and invasion from cultural “paparazzi.” The video with my father’s voice praying, has a Peruvian military march marking the real icons passing.

Kukuli Velarde is a Peruvian artist based in the United States since 1987. She has received awards and grants such as the Virginia Groot First Prize (2023), the Guggenheim Fellowship (2015), the United States Artists-Knight fellowship (2009), the Pew fellowship in Visual Arts (2003), the Anonymous is a Woman award (2000), among others. In 2013 her project CORPUS got the Grand Prize at the Gyeonggi Ceramics Biennial in South Korea. She held tenure as faculty at the Skowhegan School of Painting and Sculpture in 2022.

Her exhibition credits include: CORPUS touring exhibition at SECCA (NC), Halsey Institute (SC) and Colorado Springs Fine Arts Center (CO) among other venues in 2022 and 2023, KUKULI VELARDE: THE COMPLICIT EYE at Taller (Philadelphia, 2018-19); KUKULI VELARDE at AMOCA, (Los Angeles 2017); PLUNDER ME, BABY at the Yenggi Museum of Ceramics’ Biennial of Taipei (Taiwan 2014); CORPUS (work in Progress) at the Gyeonggi International Ceramic Biennial (South Korea 2013); also KUKULI VELARDE: PLUNDER ME, BABY at the Nerman Museum of Contemporary Art in (Kansas city, KS in 2013), PATRIMONIO at Barry Friedman Gallery (NY, 2010) and PLUNDER ME, BABY at Garth Clark Gallery (NY, 2007).

She is married to Doug Herren, sculptor, and they have a daughter named Vida. They live in Philadelphia, PA, USA.

Kukuli Velarde es una artista peruana radicada en Estados Unidos desde 1987. Ha recibido premios y becas como el Primer Premio de la fundación Virginia Groot (2023), la beca Guggenheim (2015), la beca United States Artists-Knight (2009), la beca Pew en Artes Visuales (2003), el premio Anonymous is a Woman (2000), entre otros. En 2013 su proyecto CORPUS obtuvo el Gran Premio en la Bienal de Cerámica de Gyeonggi en Corea del Sur. Fue miembro facultativo de la residencia de la Escuela Skowhegan de Pintura y Escultura en el 2022.

Sus créditos de exhibición incluyen: CORPUS exhibición itinerante en SECCA (NC), Halsey Institute y en Colorado Springs Fine Arts Center (2022); KUKULI VELARDE: THE COMPLICIT EYE en Taller (Philadelphia, 2018-19); KUKULI VELARDE en AMOCA, (Los Ángeles 2017); PLUNDER ME, BABY en la Bienal del Museo de Cerámica Yenggi de Taipei (Taiwán 2014); CORPUS (work in Progress) en la Bienal Internacional de Cerámica de Gyeonggi (Corea del Sur 2013); también KUKULI VELARDE: SAQUEAME, BABY en el Nerman Museum of Contemporary Art de (Kansas city, KS en 2013), PATRIMONIO en Barry Friedman Gallery (NY, 2010) y PLUNDER ME, BABY en Garth Clark Gallery (NY, 2007).

Está casada con Doug Herren, escultor, y tienen una hija llamada Vida. Viven en Filadelﬁa, Pensilvania, E.U.

Sue Havens

Posted on January 24, 2023 by Posit Editor

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Artist’s Statement

My interdisciplinary practice and unconventional approach, embodied in abstract painting, sculpture, and installation, are inspired by the spectacular and mundane of the world’s visual vernacular as revealed in my surrounding environments. These disparate influences — such as the lights on amusement park rides at the state fair, dotted sidewalk pavers, painted lines in parking lots, thrift store fabrics, cracked pavement, Turkish kilims, supermarket packaging, miniature golf architecture, and tree bark — are bolstered by my ongoing investigation of flatness, dimensionality, color, and pattern within painting and sculpture. I create new forms by culling references from the areas I live, the places I travel, and the objects and ephemera I collect so that content might be remembered, discovered, and felt.

Sue Havens (born 1972 in Rochester, New York) is an artist based in New York and Tampa. Havens received her BFA in Art from The Cooper Union for The Advancement of Science and Art in 1995, and her MFA in painting from The Milton Avery Graduate School of the Arts at Bard College in 2003. Havens is a 2008 Fellowship recipient in Painting from The New York Foundation for the Arts and a recipient of the 2017 McKnight Junior Faculty Development Fellowship. She is currently an assistant Professor of Art at The University of South Florida in Tampa, Florida.

Havens has exhibited internationally and nationally in venues such as The Knockdown Center in New York, Galerie Nord in Berlin, The Museum of Drawings in Laholm, Sweden, The Marjorie Barrick Museum of Art at UNLV, Regina Rex, Underdonk, The Switzer Gallery at Pensacola State, Jeff Bailey, PS 122, Postmasters, Frederich Petzel, Art in General, Momenta Art, Sara Meltzer, OK Harris, Pierogi, The Tampa Museum of Art, and Mindy Solomon in Miami among many others. Havens authored, designed and illustrated the book Make Your Own Toys (2010). Her work was featured in Andy Warhol’s Interview Magazine, New American Painting Magazine, the Korean International Ceramic Biennale.

Ron Baron

Posted on January 24, 2023 by Posit Editor

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Artist’s Statement: Shattered Vase Theory

Each of my sculptures is composed of a stack of found, commonplace ceramic objects that have been assembled into a vase-like form. These layers of castoff objects form a stratigraphy analogous to that of rock, soil and earth. But, unlike geological materials, these household objects once had a human function: family meals were served on them; they were collected as mementos; or perhaps they served as reminders of important events. Eventually, for whatever reason, the objects lost their value, and what was once cherished became obsolete and insignificant. It is the very forlornness of these abandoned objects that I’m attracted to—even as castoffs they reflect a life, a culture, a moment.

The same kind of artifact provides the raw material for the mosaic of shards that covers the exterior of my vessels. In a sort of reverse archaeology, I smash the whole object and use its fragments to create a Cubist-like skin for the vessel, thereby creating a new form that amalgamates the shattered traces of individuals and families who once possessed these objects. Collaged onto the fragmented surfaces are autobiographical images such as maps from my family travels and experiences. The result is a composite of culture, artifact, and personal history.

I began making these shattered vase forms at home during the COVID quarantine as two-dimensional collages on wood panels. When I was finally able to return to the studio I began to transpose them into three-dimensional bricolage sculptures. During this process I encountered the “Shattered Vase Theory,” a psychological concept introduced by Stephen Joseph in his book, What Doesn’t Kill Us – The New Psychology of Post-traumatic Growth. The theory grew out of a 1990s psychological study of Post-Traumatic Stress Disorder (PTSD). In Joseph’s concept, the shattered vase is a metaphor for someone who has experienced severe loss, trauma and PTSD. The essence of the analogy is that we begin as a beautiful vase, intact and lovely. Then tragedy strikes and the once perfect vase is shattered. There is a yearning to pick up the pieces, to glue and reassemble the vase as it once was, but this isn’t achievable. Instead, with some time and reevaluation one can begin to imagine that these shards could be transformed and reassembled into something entirely new and perhaps also wonderful.

This fresh perspective is what psychologists refer to as Post-Stress Growth (PSG), that is, the ability to transform a traumatic experience into a renewed possibility through an acceptance of change. Surprisingly, PSG happens to a fairly large percentage of people who have encountered severe trauma. Evidently, I belong to this group, in that my shattered vase sculptures bloomed from my family’s trauma.

Ron Baron has shown his work nationally and internationally since 1989 and completed over 25 public art projects throughout the United States. Some of his most prominent commissions are with the Metropolitan Transit Association NYC, Indianapolis International Airport, Board of Education NYC, Depart of Cultural Affairs NYC, Alaska International Airport, Chicago Transit Authority, Cleveland Transit Authority, University of Oregon, Portland Regional Arts Council and the Department of Cultural Affairs San Jose, CA. Baron has won numerous awards including New York Foundation for the Arts, National Endowment for the Arts, Pollock-Krasner, Yaddo Endowed Residency and a Lila Wallace Endowed Residency at the Monet Museum in Giverny, France.

Ana Rendich

Posted on May 17, 2022 by Posit Editor

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Artist’s Statement

I have always been connected to the invisible and visible aspects of human drama, the particular and the universal. Although my paintings and sculptures are my own work, they are not intended to be about me. The subject matter is greater than me as an individual. My studio is like a lab, where space, form and meaning intertwine, shaping and filling my artworks.

I have been exploring the Japanese concept “Ma” (間), a concept embedded in our relationship with our space, internal and external, and how we relate one to another one; as well as the interpretation of time and space, pauses and silences, and the emptiness in a space, full of possibilities. This concept MA is the skeleton of my works, where my art starts. These sculptures, mixed media and paintings emerge from a thought, an infinite path with no endpoint, where resolution is impossible. Hope in the light of loss and displacement is my primary subject. The works are fragments of what has been lost, negated, and postponed. Their structures are a form of reparation, a healing tool, tying together absences and presences, sometimes in a meditative form.

In some of my sculptures, I incorporate resin, because of its reflective or opaque property, but I transform it, leaving my own fingerprints, and colors are mainly a tool that reveals presence. In certain works, the observer can see the ghostly effect generated by the reflection created by the mixed media illustrating the transient and mercurial nature of reality. Upon seeing my art, many find that the colors draw their attention before anything else. The story behind these colors is born in the interplay between these colors, but it is not color itself that matters most to me. Rather, the color is secondary, the whole composition makes the work… Colors and shapes are not separated elements, both are an essential symbiosis. When I make an artwork that contains individual pieces, it is always thinking that each piece must belong to the next artwork, creating a work, where all the pieces share the same space; the togetherness is what makes the work.

My work has been evolving and changing every year, incorporating new media and materials. Sculpture and mixed media has helped me to grow, and it gives me the chance to explore pieces rooted in the human condition, past and present social and historic events. In the WWII pieces, for example, the research in getting the letters from WWII has been a long road, it almost took me two years until I started to work.

The base of my art is bringing presence through absence. There are different types of absences: not only physical absence, but also the lack of the fabric that could make us better human beings. All these have created the need to incorporate other elements, according to the sensibility of each piece, like the use of wood, fabric, metal, yarn and paper, besides oil, silicone, etc. I enjoy immensely the closeness with my materials, that intimacy…the tactile and physical connection, too, aids to create a deep connection with space, form and meaning, leaving all decorative items aside, and helps me to concentrate more in exploration, questioning and contemplation. I see the reflections, materials and surfaces as healing presences, making the invisible visible.

Ana Rendich was born in Argentina and lives and works in Spotsylvania, Viriginia. She attended Instituto Superior de Arte del Teatro Colon, University del Salvador, Buenos Aires, Argentina, and the National Academy of Design, New York, New York.

Donté K. Hayes

Posted on January 27, 2021 by Posit Editor

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Artist’s Statement

My research and artwork are focused on the pineapple as a symbol which represents welcoming and hospitality, while also examining issues of access to food, empire, and what constitutes the feeling and or act of being welcomed. Through this research, I have discovered that the tradition of the pineapple as a symbol for hospitality is rooted in slavery and agricultural colonization of South America, the Caribbean, and the Southern United States, in particular, South Carolina and my home state of Georgia. When a new slave ship bringing enslaved Africans docked at the port, the foremen would place a pineapple at the front of the dock to notify a new shipment of enslaved Africans has arrived. This creating the pineapple as a symbol for welcoming. The investigation in the concept of welcoming is also from personal struggles as a black man navigating public spaces and environments and not feeling like I belonged or welcomed. From this research my art practice pulls from my interest in hip-hop culture, history, and science fiction. The artwork references the visual traditions from the Southern United States, Carribbean, South America, and the African continent.

I utilize clay as a historical and creative base material to inform memories of the past. The handling of clay reveals the process and shares the markings of its maker. Ceramics becomes a bridge to conceptually integrate disparate objects and or images for the purpose of creating new understandings and connections with the material, history, and social-political issues. I compare the construction and deconstruction of materials to the remix in rap music and how human beings adapt to different environments and reinvent new identities. These ceramic objects are vessels, each making symbolic allusions to the black body.

The artworks suggest the past, discuss the present, and explores possible futures interconnected to the African Diaspora. While also examining deeper social issues that broaden the conversation between all of humanity.

Donté K. Hayes graduated summa cum laude from Kennesaw State University at Kennesaw, Georgia with a BFA in Ceramics and Printmaking with an Art History minor. Hayes received his MA and MFA with honors from the University of Iowa and is the 2017 recipient of the University of Iowa Arts Fellowship. Donté, is a 2019 Ceramics Monthly Magazine Emerging Artists and Artaxis Fellow. Donté is the 2019 winner of the 1858 Prize for Contemporary Southern Art from the Gibbes Museum of Art in Charleston, South Carolina.

W. A. Ehren Tool

Posted on September 23, 2019 by Posit Editor

One Of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
One of Thousands (2018)
Installation (Chicago Cultural Center, National Veteran Art Museum Triennial) (2018)
Installation (Chicago Cultural Center, National Veteran Art Museum Triennial) – Cups being given away to survivors of shootings (2018)
Installation (Chicago Cultural Center, National Veteran Art Museum Triennial)(2018)

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Artist’s Statement

“I just make cups” is the only statement I am comfortable making about my work.

In the Marine Corps, the gap between what I thought I was doing and what I did was vast and painful. I joined with a desire to serve and I still have that desire. I don’t think anything I do will change the world, and nothing in the world releases me from my obligation to try. Making cups feels like a pretty impotent gesture, in the face of all of the horrors surrounding us. Peace is the only adequate war memorial. Any other “memorial” is at best a failure and usually a lie, promoting war as a good and noble thing. War is not a good thing. I still love the Marine Corps and Marines, which makes it harder to watch young Marines kill and die. Wars never end they ripple and echo forever. After serving in the “91 Gulf War” I have lost my ability to point fingers. The line between good and evil is a line in every human heart. We choose every day. We live with the consequences, even when we are ignorant of how our actions affect others. I believe there is some kind of judgment or karma, even if it is not the satisfying cinematic ending many people might picture. Judgment is not mine.

My opinions about my work and what I do feel unimportant. I just make cups, and if they are ever anything else it is because of the generosity of people who take the time to look at the cups. The cups are only something more if something resonates with the viewer or, better yet, the user of the cup. I am very grateful to people who see something in the cups.

I have given away more than 21,500 cups since 2001.

I hope the cups can be touchstones to start conversations about unspeakable things. My father and grandfather never talked about their wars until I came back from mine. I didn’t understand why they didn’t talk until my son asked “how come you were bad and now you’re good? You were a soldier right?” I didn’t say anything. I changed the subject and held back tears. To be demonized or idolized for something you did or didn’t do in a context you can never explain, by someone you love, is too much. It seems easier to just not talk — to “suck it up” and “move on.”

I just make cups. Making ceramics means I have five hundred thousand to one million years to find a receptive audience for my work. I hope a few of my cups will make it through these times. From my hand to your hand to some point hundreds of thousands of years in the future. Cheers!!! I hope you always have enough to eat and drink….I love you. Blah blah blah

Strength to love, + E

W.A.Ehren Tool was born in Charleston South Carolina in 1970. Raised in Sunny South Central Los Angeles, South Dakota (3 years), then back to Los Angeles, Tool joined the Marine Corps in 1989, serving in Desert Shield and Desert Storm (Gulf War One). Tool was a Marine Embassy Guard in Rome and Paris, 15 months each, and was Honorably Discharged as a Sergeant after just over 5 years of active duty. He attended Pasadena City College, received his BFA from the University of Southern California in 2000, and his MFA from the University of California at Berkeley in 2005. Tool has made and given away over 21,500 cups since 2001. He is married and has one son.

Beth Lo

Posted on January 28, 2019 by Posit Editor

: Legacy Vases (Red Vase, Black Vase) (2016)

: Breath II (2017)

: Language Lessons: Chinese Food (2016)

: What We Pass On (2015)

: Do Not Enter (2016)

: Adopted (2016)

: swimmer cups (2017)

: Legacy Vases (2016)

: Cultural Immersion (2015)

: Good Children plate: Work/Play

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Artist’s Statement

My work in ceramics and mixed media collage revolves primarily around issues of family and my Asian-American background. Cultural marginality and blending, tradition vs. Westernization, language and translation are key elements in my work. Since the birth of my son in 1987, I have been drawing inspiration from major events in my family’s history, the day-to-day challenges of parenting, and my own childhood memories of being raised in a minority culture in the United States. I use the image of a child as a symbol of innocence, potential and vulnerability.

Beth Lo makes work in ceramics and mixed media about family, culture and language. Her Good Children vessels and sculptures have been exhibited internationally and she has been the recipient of a United States Artist Fellowship, a National Endowment for the Arts Individual Artist Fellowship, Montana Arts Council Individual Artist Grant and an American Craft Museum Design Award. She is also a children’s book illustrator and professional bass player. She retired after 30 years of teaching ceramics at the University of Montana in 2016.

Eva Kwong

Posted on March 18, 2017 by Posit Editor

: Between Heaven and Hell series – Silver Cocoon (2014)

: AROSSO (2016)

: Bronze Figure Vase (2016)

: Between Heaven and Hell series – Crystal (2016)

: AB OVO series – Ancient Egg (2013)

: AZURA (2014)

: ACALA (2014)

: Between Heaven and Hell series – OTO (2014)

: Bacteria, Diatoms and Cells (2015) Installation (Cleveland Institute of Art)

: Bacteria, Diatoms and Cells series – Floating World (2017)

: Bacteria, Diatoms and Cells series – Snizzle Snazzle (2017)

: Bacteria, Diatoms and Cells series – Floating World (detail) (2017)

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Artist’s Statement

“Love Between the Atoms” refers to the attraction between the protons and the electrons in an atom. I see this attractive force as something that bonds us all together in this world. It is this attractive force which forms bonds at the subatomic level which makes thing work in the physical world that we experience. It is this attractive force that enables us to build forms with clay and to draw people together and build relationships with each other. In many ways, mutual attraction of one form or another is what enables us to connect and create interactions on microcosmic as well as macrocosmic levels, from the physical to the emotional.

I am interested in the interconnection of the myriad of layers in the world, from microcosm to macrocosm. Maybe it is because I grew up with both eastern and western cultures. I was brought up with the traditional chinese concept of yin and yang that underlies all life forms and energies. This was discussed every day by my grandmother, who also passed on to me the joy of making things. Growing up in Hong Kong and New York, I learned to look at everything through the lens of both cultures.

This interest in opposite ways of perception, the intertwining of dualities, has informed all my work for several decades since I was student. I am interested in the juxtaposition of mass/space, land/air, solid/hollow, male and female forms. I feel I am a hybrid hovering between opposites.

My work-study experience at the Rhode Island School of Design Nature Lab sparked my continued interest in forms and concepts from nature. Most of my inspirations for my work come from my direct observation of things in nature and within my life. Often it starts from a question or thought about some human experience; for example, pondering about how our bodies function under the skin, or fertility, and mortality.

I like to make things. It is my way of experiencing and understanding the world through my own filter. It is like ”tapping,” a term used by the Australian bushmen to refer to a sense of an animal or water nearby. It is a gut-felt, intuitive impulse to puts things that I feel, think about, question, or observe in my life into concrete form.

My artwork is a way to understand myself and the interpenetration of the worlds within and around us all.

Eva Kwong was born in Hong Kong and moved to New York as a teenager, where she thought of the visual language of art as another universal language. Her sculptures reflect her bi-cultural background and her interests in natural forms and microbes. Eva received her BFA from the Rhode Island School of Design and her MFA from the Tyler School of Art. She has been awarded grants from the National Endowment For the Arts, Ohio Art Council, Arts Midwest, PA. Council on the Arts, NCECA, and the McKnight Foundation.

Christopher Adams

Posted on September 8, 2016 by Posit Editor

: Installation view, “Life, or Something Like It” (2015)

: Installation view, “Primordial Garden,” all works untitled (2015)

: Installation view, “Natural Selection” (2011)

: Untitled (2015)

: Set of six works, each Untitled (2015)

: Untitled (Green and Red) (2015)

: Untitled (2015)

: Untitled (Primordial Garden) (2015)

: Untitled (Spiral) (2014)

: Wall Construction (2008) [side view]

: Untitled (Sand) (2015)

: Installation view, Resident Artist Exhibition, Greenwich House Pottery (2013)

Artist’s Statement

I utilize biological concepts including speciation, convergence and mimicry to create sculptural works of organic abstraction. The sculptures suggest a variety of creatures, but not a specific organism. In the concept that drives my art making, a pioneering organism has entered an untapped environment, where it differentiates rapidly without departing too dramatically from its original form. The sculptures of porcelain, terra cotta, and stoneware are fired over a wide range of temperatures with a variety of glazes. In addition to making art, I work as a dermatologist. I pay attention therefore to skin surface in my art; and I utilize shiny, gnarly, and matte metallic finishes to evolve the skin surfaces.

Christopher Adams was born in Medford, MA in 1972. A ceramist most of his life, he also pursued his passion for science in college, graduating magna cum laude from Harvard University with a B.A. in organismic and evolutionary biology. During his time at Harvard, he was also artist-in-residence at their Ceramics Program. In 2004 he graduated from Columbia University of Physicians & Surgeons. He is a practicing dermatologist as well as an artist. His medical practice strongly influences his work. His solo exhibitions include: Garvey|Simon Art Access, Hosfelt Gallery, Ricco Maresca, Greenwich House (all New York), and Harvard University. He is represented in New York by Garvey|Simon Art Access.

Editors’ Notes (Posit 11)

Posted on September 8, 2016 by Posit Editor

Welcome to September, and to Posit 11!

It is a special thrill to introduce the masterful poetry and prose Bernd and I have gathered for this issue. Not only has another summer come and gone, but we are in the last stages (if not throes) of an American election cycle in which the complacency of most notions of “normalcy” have been shattered, giving rise to an appropriately pervasive anxiety about the depth and scope of the humanly possible. In its own provocative and evocative ways, the work in this issue addresses that anxiety, and even musters some degree of optimism. For tragedy rendered inseparable from the beauty of its vehicle, consider the stark profundity of new work by Michael Palmer and Fady Joudah; the disturbing resonance of two parables by Marvin Shackelford and Eric Wilson; or the tender melancholy of verse by Jeffrey Jullich, Stephen Massimilla, and Simon Perchik. For an inspiring balance of critique and optimism, take a look at Sharon Mesmer’s tragic yet emancipatory tributes to undervalued women poets, Sheila Murphy’s inimitable and ineffable pull-no-punches constructs, Sharon Dolin’s disciplined frolics, ambitiously braiding tribute and lampoon, or Anne Gorrick’s high-octane mash-ups of web-commerce parlance examined and re-examined to reveal rich veins of resonance. And on the brighter side, bask in Felino Soriano’s linguistically untethered odes to transformation.

Whether you are absorbed by the anxiety of our historical moment or weary of its seep, I hope you’ll take some moments to explore:

the tightly packed wit and wisdom of Sharon Dolin’s allusive riffs on Conceptismo, W. C. Williams’ So Much Depends, Niedecker’s ‘condensery,’ and the fraudulence of linguistic obscurantism;

the looping logic of Anne Gorrick’s expansive assemblages, artistic antidotes to our day-to-day “doses of forgetting” the “fine tunings built into” these rocking, rollicking litanies in which “invisible empires of products, fireflies and songs add to the beauty;”

Fady Joudah’s profound and miraculous condensations, with their masterfully chiseled, spare, and haunting visions of oppression and its internalization (“Election Year Dream”) sanctuary in the face of damage (“Monastery”) and the devastation of love (“Coda: A Fragment”);

Jeffrey Jullich’s grimly beautiful constructs, evoking the hazard, sorrow, and insignificance of existence as revealed by the “metamorphosis of seraphim,” “Nostradamus contradictions,” and “a cloud/hung between my life—and life itself” in which “intelligence is only – a fraction – a niche for omniscience;”

the mystery and beauty of Stephen Massimilla’s chiseled lyrics, gesturing towards the elusive and tragic lightness of love, loss, and existence itself, in which “so many little masks (marks, tasks) / make a life” until one is reluctant “to come down from the lightfastness / of this insomnia high;”

Sharon Mesmer’s lyrical tributes to women poets of the Americas which, by “beating all sorrows/into beauty” themselves fulfill the determination to be “no mere witness/to inertia” by evoking, among other notions of liberation, the freedom of radical departure — in what her fans will recognize as a masterful departure from the pyrotechnical virtuosity of her signature Flarfian poetics;

Sheila E. Murphy’s confidently quiet, powerfully enigmatic new works evoking the intimacies of existence anchored by “the palpable act of witness, witnessing” in which “pounce marks levitate a posse / of connect points” in our appreciation of her bracing linguistic montage;

the incomparable music of Michael Palmer’s austere and profound masterpieces of compression, sternly confronting us with the tragedy and horror of a world — our world — in which a child is “set afire / before blindered eyes / a world’s eyes” and authors “lost at sea / in a storm of words” stand idly by as their “books consume . . . the fire”;

Simon Perchik’s moving lyrics of love, loss, and memory, gently guiding us to “listen / the way all marble is crushed” and witness how “inside each embrace // the first thunderclap and shrug / no longer dries”;

Marvin Shackelford’s haunting parable of shipwreck, survival, and friendship, with its “reversed exploration” of the great parable, Before the Law, replacing Kafka’s eternally-withheld judgment with rescue, but, gratifyingly, perhaps not redemption;

Felino Soriano’s “relocated” lyrics, as musical as they are disjunctive, enacting the generative power of the transformations of which they sing; “alters” “of improvised becoming” in which the day is “a dangle of marbled light, an / algebra of sun” for the reader to gratefully absorb;

and the disturbingly resonant infinite regress powering Eric G. Wilson’s “Bowl,” ruled by the labyrinthine, archetypal, Escher-esque logic of nightmares.

Thank you, as always, for reading!

Susan Lewis

Welcome to the visual art of Posit 11!

Christopher Adams’ background in biology and science informs these environmental installations of ceramic sculpture. He creates small universes of hundreds of individual elements reminiscent of creatures from the biological world, as filtered through Adams’ imagination. Installed on walls painted in brilliant, deeply saturated colors, they seem to vibrate with energy, transporting us into another dimension.

Yura Adams works in a diverse vocabulary of forms united by her nuanced and thoughtful vision of the world. Based on both scientific and intuitive observation of the natural world, this work encompasses a lovely tension between loose drawing and complex patterning. Her use of rich and beautiful color reinforces this dynamic.

Kate Brown’s solidly painted compositions address one of the basic constructs of painting – the push and pull between positive and negative space. Using a carefully controlled palette of color, she has created an exploration of figure and ground that transcends the academic idea and emerges as glorious paintings. Big gestures are offset by architectural spaces. These works are luscious and bursting with energy.

In John Hundt’s hilarious and odd collage pieces, we see a world of biology and evolution gone strangely awry. Unlikely combinations of creatures are meticulously constructed from Hundt’s trove of imagery. Building upon the grand tradition of Surrealist collage, he has created a world of creatures found (hopefully) only in dreams.

With intricate and delicate etched lines, Renee Robbins explores the biology of the ocean. Her etchings, all based on actual creatures, evoke the undersea world caught in mid-motion. Her images are simultaneously scientific and dreamily ethereal. Rendered in softly psychedelic tones, they are like specimens on view through Robbins’ artistic microscope.

I hope you enjoy!

Melissa Stern

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