Zemer Peled

Large Pua Porcelain, 2019

2019

Large Pua 2 Porcelain, 2019 Additional information: Medium: Porcelain Dimensions: 11 × 11 in Zemer Peled's work examines the beauty and brutality of the natural world. Her sculptur...

Shards Flower 1 in Porcelain, 2019 Additional information: Medium: Porcelain Dimensions: 18 × 21 × 16 in Zemer Peled's work examines the beauty and brutality of the natural world. ...

New Year's Best Dream Porcelain Shards, 2015 Additional information: Medium: Porcelain shards, fired clay, mixed media, wooden pedesta Dimensions: 71 x 55 x 58 in Zemer Peled's wor...

Large Pua 1 Porcelain, 2019 Additional information: Medium: Porcelain Dimensions: 11 × 11 in Zemer Peled's work examines the beauty and brutality of the natural world. Her sculptur...

“I could start fires..” I could start fires with what I feel for you. Destructive love. Engulfing flames. Burn the world until the ashes fly into space. Nothing left but feeling. “...

Midnight Blue, a ceramic relief sculpture of high-fired porcelain pigmented with oxides, paint and epoxy, is a recent work by New York artist Harold Wortsman. This sculpture is ready to be mounted to the wall. Note the artist's hand in the mark-making – cuts and radiating lines, the suggestion of maps, geometry and counting systems – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. Midnight Blue was recently exhibited at Harold Wortsman: Time and Space, Orange Art Foundation, New York City, February 2022. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe—like naked skin. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

Exquisitely hand engraved white floral patterns adorn this taupe-coloured porcelain vessel by Loren Kaplan. The classic shape and detailing are reminiscent of ancient vessels. Kaplan...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...