Archives for posts with tag: Pottery

The Betsy Hotel in South Beach, Miami is a bookish place. They have a library. Each room holds unique stacks. Bookshelves line the hallways.

On my way to the pool, a paperback, the color of a sand dune, caught my eye: O’Keeffe: The Life of an American Legend by Jeffrey Hogrefe. On the cover of this 1993 edition, Georgia O’Keeffe appears as ancient as the desert. She’s nearly blind, I’d learn.

Flipping, I discovered O’Keeffe made pottery. Late in life, when her eyesight failed and she could no longer paint, she worked in clay.

OK PotteryAt age 71, O’Keeffe learned to throw pottery from her assistant and companion, Juan Hamilton.

“O’Keeffe loved holding wet clay in her hands and then running her fingers over the walls of the finished products” the biographer wrote.

Ever the perfectionist, O’Keeffe was disappointed that her work was not as “fine as Hamilton’s smooth-walled vessels.”

Hamilton could make the clay “speak” O’Keeffe said and called him “one of our great talents,” Hogrefe shared.

I was taken with the story of these two artists. She followed his hands in clay; he created ceramics and sculpture inspired by shapes from her paintings.

dan-budnik-georgia-okeeffe-at-the-ghost-ranch-with-pots-by-juan-hamilton

Georgia O’Keeffe with pots by Juan Hamilton by Dan Budnik

While I’m prone to picking up books in hotels, I rarely finished them. But this one was different. I needed to read the full story of art being passed along. I offered to buy the book — the hotel has a partnership with the local, independently-owned Books & Books — but the concierge gifted it to me.

“We believe in supporting writing,” he said and mentioned their residency program.

The Betsy Hotel hosts a dedicated Writer’s Room for authors to come and write for a few days. Applications were opening soon.

“Did you know the owner’s father was writer?” he continued. His desk is in the Writing Room.

“Take a look at our website,” he encouraged. “Apply.”

Innominate means not named or classified. The word has been used to describe human arteries, veins, bones, and currently an exhibition about healing. Heather Bradley’s innominate at form & concept is a body of works, including a collection of Arterial, Spinal, and Handheld clay pieces, as well as text art.

Amy Deneson Heather Bradley innominate

“innominate” by Heather Bradley at form & concept on 9.23.17

Dozens of black, white, and red pieces cover a 30-foot wall. Circular red pods, symbolizing blood droplets and reminiscent of traditional seed jars, dot. Vessels with tall necks take on the look and feel of vertebra, some with glaze scraped bare. Black-and-white porcelain pages, transcribed from her diary, tell a story of seeking. Text art spells out:

pain

wound

circulatory

Heather explains that her work is representative of whatever she is presently going through in life. When she created innominate, she was learning to be a massage therapist and recovering from a spinal injury (severe enough that she was advised to stop throwing pottery).

Amy Deneson Heather Bradley bonessacral

pressure

choose

She kept creating and learning to heal with her hands. The clay began to take the form of her spine—readjusting—and her body flowing—spinning beneath—transformative touch.

I love this expression of clay. I appreciate how physical it is–how, literally, to the core the work goes. As a potter and a writer, I empathize with the story Heather’s sharing, and this collection deeply moved me. I’m so glad to have caught the exhibition during a day trip to Santa Fe, New Mexico.

Since, this collection has become something else. I learned during my visit that innominate would be transformed on the following Monday.

Amy Deneson Heather Bradley clay flowwrite

clay

erase

flow

 

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.

xx

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