- Cross Currents
- The Memento Series: Travel and Leisure
- The Gestural Line of Equine, new works by Jeaneen Barnhart
- Jeaneen Barnhart
- Judy Miner/Laura Ross
- Tad DeSanto
- la Vida, la Muerte y el Amor (Life, Death and Love)
- Anna Marie Pavlik
- Ashley Brossart
- Kyle Bianconcini & Jenni Deamer
- Joshua Huettig
- Natasha Sud
- Damon Thompson
- Dobree Adams
- la Vida, la Muerte y el Amor (Life, Death, and Love)
- Sean Garrison
- Patrick Donley
- Wayne Ferguson
- Suzanne Edds & Michelle Amos
- Jacque Parsley
- Julius Friedman
- Harlan Strummer Welch-Scarboro
- Noelle Horsfield
- Catherine Bryant & Vallorie Henderson
- Sarah & Jeral Tidwell
- Saw: Artists Explore the Tool as Canvas
Judy Miner/Laura Ross
ONE + ONE
One + One = Two People Working in Side by Side Studios While Sharing a Vision of What is Possible.
Laura and Judy are graced to live by a mighty river which instructs their life. The constant flow is reflected in their abiding support of each other. The always changing but humbling beauty of the river challenges and inspires their efforts. It is a profound, intimate influence that permeates their work.
In thinking about this exhibit, Laura has found herself “circling", navigating back to forms and surfaces from long ago, made in the beginning years of a young potter trying to find a voice. This “circle” of work from then to the present is a revolution of rounded, full, robust forms which have similarities in surface and shape, yet presently speak more about the melding of functionality in use with the visual pleasure on the table. “Have nothing in your house that you do not know to be useful, or believe to be beautiful” – William Morris.
Altering the shapes of pots from rounded wheel work to asymmetrical “out-of-round” shapes has been a consuming passion of Laura's. The pieces in this exhibit reflect this passion. The love of traditional forms with contemporary attitudes along with fine craftsmanship has been and always will be the focus in Laura's pottery.
This show is a departure from Judy's past porcelain work which had been strictly functional. The wheel thrown and hand built methods of working with clay have been set aside for the extruder’s discipline. In addition, by taking advantage of the qualities of terra cotta, these pieces are allowed a freedom from usefulness and purpose while retaining echoes of the Vessel and tile.
She hopes the sensual pleasure of working with clay informs her work in such a way that the viewer derives equal pleasure. As the wet clay responded to her touch, the touch seems still to be alive on the surface.