Ghada Amer’s Déessee Terre exhibition at Greenwich House Pottery has me swooning. Her painted females, with their bold gazes, dripping locks, and parted lips, are now enchanting us through clay.

Sculpture in Black, Red, and White, 2017 by Ghada Amer

I’m such a fan of her embroidery work. So, to see her explore the female form and voice through another medium traditionally associated with “women’s work” is, yet again, breathtaking and radical.

Déessee Terre, 2017 by Ghada Amer

Look at this goddess, the show’s namesake.

The exhibition follows a three-month artist-in-residence intensive at Greenwich House Pottery.

And as noted by the studio’s director, Adam Welch, “There is no precedent for Ghada’s ceramics beyond her own body of work.” In other words, what she is creating with clay, no one else has done–ever.

Ma Venus de Milo, 2017 by Ghada Amer (and shadow!)

Clay, as a canvas and sculptural medium, creates extraordinary organic forms–from the work itself to the shadows it casts.

I hope when the archeologists in the far, far future discover it, they note it as part of our current cultural shift toward the now being female.

Ghada Amer’s ceramic paintings are on view at The Jane Hartsook Gallery at Greenwich House Pottery through May 7, 2017.