Michael Boroniec Art

"RAKU RED AND WHITE", 2019, in wheel-formed white glaze with copper red blush, sprig, stamp, gold leaf and raku fired with kintsuji gold by artist Andrew Cornell Robinson, is one of a series of sculptural objects that include ceramic, glass and mixed media grottoes and containers. A project exploring the vessel form and notions of gratitude, plenty, poverty in material or humanity. Robinson has led artists to explore tableware as sculptural form – "Changing attitudes and emerging social behaviors in food preparation and the social and cultural rituals of eating have lead to changes in the way tableware is made and used." Andrew Cornell Robinson is an interdisciplinary artist working across media (ceramics, textiles, painting, prints, etc.). His work is influenced by collaborative craft communities, traditions, and the performative qualities of cultural production. The underlying ideas exploring identity, histories, rituals, and power in his work aim to create a space for intimate experiences and open narratives. He studied ceramic sculpture at the Glasgow School of Art and the Maryland Institute College of Art where he received a BFA. He was awarded an MFA from the School of Visual Arts, where he became interested in the intersection of memory, identity, politics, and power. He has been featured in many publications including Sculpture Magazine, Huffington Post, Hyperallergic, Art Info, et al. He has participated in curatorial and research projects and recently was a participating artist in Debtfair a project in the Whitney Biennial. Andrew has also worked on collaborations with designers such as Donna Karan’s Urban Zen project where his work in ceramics led to workshops with artisans in Haiti and the creation of a ceramic studio in Port-au-Prince. He is currently working with The Powerhouse Arts Workshop and their design team from the Pritzker-prize winning architecture firm Herzog & de Meuron in the design and development of a contemporary industrial fabrication center established to serve the working needs of artists in New York City. He is currently a member of the faculty at Parsons School of Design and Greenwich House Pottery in New York City. His work has been presented extensively throughout the world with the Anna Kustera Gallery, David & Schweitzer Contemporary, Christopher Stout...

Untitled XII, by Charo Oquet Ceramic 14 H in x 15 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain ...

Untitled IX, by Charo Oquet Ceramic 18 H in x 13 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain t...

Nero II, 2023 by Magda von Hanau From the Visceral series Clay underglaze and glass glaze. Dimensions: 13 in H x 15 in W x 14 in D Weight 15 lbs “This body of work refers to the mem...

Untitled XV, by Charo Oquet Glazed Ceramic 17 H in x 13 D in. 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that co...

"JAMÓN JAMÓN VI (Language of Flowers)", 2019, in slipcast glazed, pit smoke fired ceramic by artist Andrew Cornell Robinson, is one of a series...

"JAMÓN JAMÓN VIII", 2019, in slipcast glazed ceramic by artist Andrew Cornell Robinson, is one of a series of sculptural objects that include c...

Blue and Yellow, by Charo Oquet Glazed Ceramic 17” x 14” x19” 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that con...

Green twirls flowers, by Charo Oquet Glazed Ceramic 18” x 16” x 14” 2018 These gravity-defying ceramics stacked constructions struggle to soar beyond the boundaries of the spaces that contain them, often appearing to teeter in the brink of collapse. They are essentially diasporic, coming from various territorial and conceptual geographies that are the instruments of connection between today and the past and a new future. I try to create pieces where a process of mestizaje capable of arming dissident ways of live, intertwined with my family history. The colors, bright, chaotic, disruptive of a rich tropical load, bright light, universe of the Caribbean pallet, have archetypal symbols connected to the African heritage, visual party made plastic, symphonic permanence, with a transmission of joy, cheerful feelings that evoke directly the therapeutic action of planting, building and maintaining a garden, in this case, a permanent garden, which is mud in a state of crystallization (ceramics). ----------------------------------------------- Charo Oquet is a Miami-based artist that uses painting, installation, performance, photography, and film, among other media, to investigate issues of displacement, identity, migration, gender, or sociopolitical and cultural issues and to document and reflect on issues of de-colonial aesthesis and the role of contemporary culture in a global reality.Her work is a subjective observation by someone who is concerned with her surroundings and the culture she left behind. Her interdisciplinary work has been extensively exhibited internationally and has been well-reviewed by art critics and recognized by scholars in books and other publications. In addition to reviews in the Miami Herald, Atlantica Art Journal, African Arts, Art in America, Art Nexus, and Art New Zealand, among others, Antonio Zaya Publisher produced and distributed a book of her work, Charo Oquet – Lo Que Ve La Sirena (2002). Her work is also included in such books and catalogs as New Hoodoo - Art of a Forgotten Faith (2008), Files by Octavio Zaya, Miami Contemporary Artists New Zealand's National Museum Te Papa Calendar 2009, Dominican Contemporary Artists, and Supermix. Oquet has had numerous solo exhibitions in Museums and galleries around the world such as the Bass Museum, Miami Beach; Casal Solleric, Palma de Mallorca, Convento de Santo Domingo, Lanzarote, Canary Islands, Spain ( curated by Antonio Zaya) and Oquet’s work has been included in numerous international exhibitions. Oquet’s work is in several museum collections such as the Fort Lauderdale Museum of Art, Frost Art Museum, Florida International University, Miami, FL; CAAM, Centro Atlántico de Arte Moderno, Word Bank, Las Palmas de Gran Canarias...

Untitled XXII, by Charo Oquet Glazed ceramic and enamel Overall size: 24.5 H in x 24 W in. Individual size: 1. 6.5”x 6” x 0.25" 2. 6" x 5" x 1" 3. 6.5”x 6” x 0.25 4. 5" x 5” x 0.25”...

"PLUG-N-PLAY I (Yellow, Black and White)", 2019, in wheel-formed stoneware, glaze, stain and cork by artist Andrew Cornell Robinson, is one of ...

Untitled XXIII, by Charo Oquet Glazed ceramic and enamel Overall size: 27.5 H in x 24.5 W in. Set of 14 Glazed Ceramic Discs Individual size: 1. 3.5” x 3.5” x 0.25" 2. 5" x 5” x 0.2...