Artist StatementI use functional pots as a vehicle for setting tables with visual stories. Through everyday ceramic pieces I can subtly, and even a little subversively, explore my interest in issues surrounding food production, transportation, energy use and climate change. Researching these interconnected contemporary themes drives my current studio practice, but the seeds of this work were sown over twenty years ago. As a child in Alaska I witnessed first hand the devastation wrought by the expansive Exxon Valdez oil spill of 1989. In the following decades, the essence of that childhood experience simmered beneath the surface, ebbing and flowing with the world’s evolving energy story. My subconscious inklings became concrete realities after reading The Omnivore’s Dilemma by food activist Michael Pollan. Pollan’s book identified a thread running through agriculture, pesticides, fertilizers and oil – intertwining layers that have since become prominent themes in my work. As his writing shaped my mental framework, I aimed to translate Pollan’s words into meaningful imagery, to bring ideas off the page and place them squarely in reality as physical objects at the table.
I continue to discover a seemingly endless string of food and energy related books, documentaries, articles, podcasts and radio stories that spur new directions as I reinterpret what I see and hear into ceramic objects. While those written words in The Omnivore’s Dilemma initially inspired me to pursue images on clay, the high-tech food production documentary, Our Daily Bread, demonstrated the unique power of visuals alone. Free of dialogue and its overt opinions, Our Daily Bread’s scenes are shot with the rumbling hum of processing equipment, the rhythmic swoosh of hand-harvesting lettuce, or the nervous clucking of chickens in transport as a soundtrack. The result is a startling vehicle for open-ended personal interpretation, discussion and debate. It was Our Daily Bread that encouraged me to pursue my interests in the form of visual questions, rather than rigid statements, to allow users breathing room for their own associations and connections.
The functionality of the pieces I create serves as a daily nudge to reflect on the interwoven nature of our lifestyle choices and the broader world around us. I deeply appreciate the process of visually wrestling with contemporary challenges on beautiful daily-use ceramics – creating functional art that by its very nature compels repeated scrutiny. Ultimately, I hope that with the regular rotation of these pots through everyday moments, users will peel back the layers of my work, open dialog with those who share their tables, and explore how their own personal actions can influence our collective future.
We are all first year Graduate students studying in different departments: Painting, Ceramics, Printmaking, Sculpture. This exhibition is the coming together of these mediums all used to explore memory and human interaction hence our title “Perpetuate”.
Please join us at the upcoming WARPhaus Gallery reception for our latest exhibitions entitled ‘Perpetuate’ and ‘Dish.’ The reception is free and open to the public on Saturday, April 4th from 7:00-9:00pm at the WARPhaus Gallery (located at 534 SW 4th Ave in Gainesville, FL). Hope to see you there!
Check out Zimra’s new work!
Peter Christian Johnson came to UF last week!
Check him and it out.
I am pretty excited by this exhibition!
Check out the online version.
Harrison Gallery + Online
September 5 through September 28, 2014
Mixed Bunch is a series of floral still lifes. Rather than being drawn from the banality of everyday experience or notions of kitsch, these works are drawn from the history of visual culture, specifically decorative and applied art. This collection of ceramic sculptures is the culmination of studio exploration that references various aspects of the natural world found in the decorative arts. A few of these influences include modernist painting, (i.e: Matisse,) textile design, graphic arts and of course, ceramic art. These influences are distilled through the process of making in the studio and is a way for me to satisfy impulses that focus on the relationship between craft and art, sculpture and painting.
Julie received her MFA from the New York State College of Ceramics at Alfred University in 2010. She has exhibited extensively in Toronto since graduating from the Material Art and Design Program at the Ontario College of Art and Design in 2005. She has participated in numerous residencies and exhibitions within Canada and the United States. Recent exhibition venues include The Seattle Design Center, Pulse Art Fair with Narwhal Art Projects in Miami, the Katzman Kamen Gallery in Toronto, The Clay Studio in Philadelphia, and the Schein-Joseph Ceramic Art Museum in Alfred, New York. Recent residencies include The Anderson Ranch, Center for Ceramics in Berlin, and AIR Vallauris, France.
We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.
Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.
Check out her personal website at: http://www.juliemoon.ca
David Hiltner watched the Documentary King Corn (you can see it on youtube for free!) and got inspired. It is a great documentary and Hiltner makes great work.
Alfred University in rural NY has a renowned ceramics program. Where the cream of the crop study there are bound to be cutting edge exhibitions. Don’t underestimate the college and university galleries they often have very good collections and experimental shows. Check out years of just that here: