The Power of Three
A group show of three women artists
Christine Kosiba: Artist Statement
I have always been attracted to the process of sculpting clay; the tactile give and take, the immediate response of the material…. malleable, spontaneous and filled with infinite possibility. Clay grounds me yet allows my ideas to take flight. It frees me in a way no other medium can. I am greatly influenced by my longstanding love of and curiosity about the natural world. I believe our awareness and respect for our connection to the earth is imperative to our emotional and physical well-being. My latest work incorporates human and animal forms in dream-like figurative pieces that speak to a visceral need and desire that I believe burns in all of us to reclaim this connection. I work intuitively, allowing the sculpture to develop organically from clay coils and slabs of clay. I also work quickly and purposefully leave fingermarks to convey gestural spontaneity. I will often apply multiple layers of colors and treatments, and approach surface finish in a painterly fashion. Found objects may be incorporated to accent, embellish or define the work. Each piece has its own evolution and story which guides its ultimate form and finish.
Jenny Mastin: Artist Statement
My Fine Art and Craft studies began in the fiber arts over 40 years ago, but transitioned over those years while teaching art towards clay… to ceramic sculpture in particular. I find that clay anchors me to the earth and sends me other places. It informs my sense of place in the world and fires my imagination in a way no other material can. Clay comforts and inspires me. It connects me to my collective ancestors, bonds me to my clay contemporaries, and constantly challenges my understanding of its potential possibilities for future aspirations.
Inspirationtion for my sculpture stems from my longstanding curiosity and interest in anthropology, art, and nature. Some of my greatest influences have been the primal forms and stories of traditional cultures. Indigenous artists were masters of utilizing materials from their natural resources, as well as materials collected and manufactured by others outside their borders. Each form, whether a totem, mask, shield, body art, or figurine was created as a means of connecting human beings to each other and to the natural and spirit worlds. These works created a sacred communion or dialogue, making it possible to bridge boundaries between the physical and spiritual dimensions.
I see my work as an exploration on how universal forms, ideas, and traditions evolved as integral components of rituals and influenced civilizations over time. That exploration continues to lead me toward a deeper understanding of how the daily experiences of traditional cultures, and ours, were/are interwoven with our natural environment and spiritual concepts.
My process is strictly intuitive. Stories develop as forms appear in the wet clay. The work will begin with a seed of an idea based on a cultural myth, folklore or legend, or on my observations of daily life to convey my own personal narrative. Each piece is a hand built, sculptural, low fired clay form. The surfaces may be impressed and/or incised with a compilation of natural and manufactured textures, patterns, and symbols to convey a story or idea. Color is incorporated predominately through the application of under glazes, oxide stains, and colored slips which may be finished with heat infused encaustic wax. Metal, hemp, raffia, and other materials may be added to elaborate and exaggerate the sculptural narrative.
Hayley Davison: Artist Statement
Woodworker Hayley Davison honors the natural beauty of fine hardwoods integrating their patterns and colors into quietly elegant furniture designs fusing Japanese influences with American Mission style. Often, she will add handcarved surface details of plants and other wildlife.
Her interest in woodworking began as a child building dollhouse furniture from balsa wood. Years later she pursued her childhood passion by attending North Bennett Street School in Boston, the oldest trade school in the U.S., specializing in traditional 17th and 18th century woodworking joinery and techniques.
Upon completing the cabinet and furniture making program she spent several years gaining practical experience in a cabinet shop and taking fine art courses at Massachusetts College of Art and University of Massachusetts at Amherst. In addition she also taught courses in woodcarving at North Bennett Street School and Anderson Ranch Arts Center in Aspen, Colorado. In winter of 1995 she was offered a job with a new woodworking company forming on the island of Kauai, Hawaii. Feeling restless and ready for a change, she accepted the offer without hesitation. Besides, as she is quick to point out, it was February in Boston.
In 2009, after nearly 15 years woodworking on Kauai, she moved with her family to Asheville, North Carolina where she continued to pursue her craft in her woodshop at the Grovewood Studios next door to the historic Grove Park Inn.
In May 2011 she relocated her shop to a new location in Asheville.
Hayley's work has been in several exhibitions and is shown at the Grovewood Gallery and the Southern Highlands Craft Guild.
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