March 21, 2008 6-8 pm

"Naughty Pots"

Erotic imagery has been represented in ceramics since Neolithic times, 15,000 years ago and throughout man's history. One recalls the ancient voluptuous fertility goddesses of the Steppes and the pre-Colombian Peruvian Moshe erotic vessels with explicit details depicted in the vessel's form and decoration. Much has been written about the connection between the soft, flesh like quality of clay and its use as a medium for expressions of the erotic. Human sexuality has its metaphor in the working in clay — using touch to alter a form or physical state through that manipulation. The functional vessels used in ceremonial rituals stimulate the senses visually through the decoration and then again with the drinking from the vessel. It is a very rich field of study in the ceramics world. The work of these five artists evolved from that fertile field and continues in it's richness:

Montana artist, Richard Swanson follows in the historic ceramic tradition of using the standard functional teapot form as a jumping off point for a creative innovation. Teapots are ubiquitous mundane objects so the challenge is to arouse a different response. By using romantic and erotic imagery, Swanson's pots achieve another level and reference the parallel relationship challenge of overcoming the mundane. His figures do so expressively and joyously whether they are dancing the Tango or embracing passionately. Similar to the Peruvian pots, Swanson's couple pots make a hot brew indeed.

David Furman is a very famous California artist whose Trompe L'oeil sculptures of mannequins on sofas are full of compelling meaning. Though the figures are twice removed; representations of representations of the human form, they are surprisingly imbued with human emotions. The cues are subtle gestures studied and expressed by the artist through these clay recreations of wooden models embracing or in a private moment. Furman's extraordinary skill in the craft of his chosen medium is impressive, but that his figures communicate as deftly as he does, amazes.

Gina Tibbott, a local talent, just completed her Masters of Fine Art at George Washington University. Her first degree was in archaeology and these interests come out in her ceramics. Some of her work explores the buried remains of her family pets. For this show Tibbott's work is made of the most delicate porcelain tubes which look like white sun-baked fish bones collected on a beach somewhere. But her installation turns hundreds of them into a living, swimming mass of life force coming out from the wall showing the potent power in numbers.

Leigh Taylor Mickelson, a long-time resident of Baltimore where she worked at the Baltimore Clay Works, now lives in upstate New York. Her work was recently included in the McLean Project for the Arts group show. Mickelson's quirky and humorous "Botanical Duets" focus on the attraction and relationship between plants and their urgently required pollen.

New Orlean's is the home of Dennis Sipiorki whose dynamic and raw black and white nudes are carved into his large serving platters and vessels. The decoration of Sipiorski's functional ceramics have their roots in the black and white figures adorning ancient Greek vases and share the narrative quality as his figures dance around the pots.

opening reception March 21st 2008 6-8 (thru April 16th)

Digital photographs available upon request