"Mountain King" ceramic sculpture with figure, deer, snake and chrysallis

2021

This wall-mounted sculptural relief of a moth is created with hand-built porcelain and glazes, in vibrant pink yellow. The artist has incorporated decorative elements of floral Austrian textiles and laces, with a green floret and red flowers painted in underglaze on the wall sculpture. This ceramic sculpture is featured in a solo exhibition of new works by Sascha Mallon, entitled, "Mending Dreams. Front Room Gallery is pleased to present, “Mending Dreams” a solo exhibition of new sculptural works by Sascha Mallon. “Mending Dreams” includes hand-build ceramics, assemblage sculptures and drawings which capture moments in time, accessed through memories and dreams. The forms and the figures in this exhibition relate to the artist’s Austrian heritage; she creates images of animals, people, and nature that reference allegories, myths, and stories, re-contextualized in contemporary life. She is particularly interested in expressing inner thoughts and feelings and how those relate to reality. Sascha Mallon’s work encourages viewers to slow down and to notice the beauty and wonder of the world around us. “Mountains are a recurring theme in my work. They are a metaphor for the body and also allude to my Austrian heritage. They refer to the border between inside and outside and represent stability and home. My mountain sculptures are formed out of broken pieces of glass and ceramics. This work started when I broke one of my favorite cups. The mountain represents the idea that when we face difficulties and challenges in life there are two possibilities: either we accept it and learn something, get stronger, and grow, or part of ourselves breaks and we carry the weight of the loss with us. The mountain is also a metaphor for the fact that many different pieces forming a whole are stronger than the individual parts.” -Sascha Mallon Another recurring subject in Sascha Mallon’s work is a series of figures in a position of waiting, sleeping, or dreaming. For example, her ceramic sculptures of female...

This contemporary ceramic wall sculpture is composed of a figure surrounded by turtles and a wolf with fire, and blue droplets woven into a geometric web, similar to a modern-day dre...

This sculptural installation incorporates running water and and interior light which activates the scene of a streambed along a grassy knoll. Kathleen Vance is an environmental artist who creates projects that connect people to local aspects of nature that are overlooked or under appreciated. With the series “Traveling Landscapes” Vance creates miniature landscapes with running streams and rivers inside vintage suitcases and trunks...

14"x19"x6" For Melissa Pokorny, found objects constitute the starting point for elaborate sculptures that have explored gender roles, the public and private spheres, and the nature/culture divide. More recently, her work engages the connection between “things” as potent containers of memory, capably representing loss and estrangement, and the deeply haunted landscape of the everyday. Unremarkable objects become activated and heightened as they are positioned within larger tableau. The compulsion to collect, the status of marginal objects and things, and speculative connections result in fractured narratives that address these occulted objects, the allure of magical thinking and the collapse of the boundaries between the animate and inanimate. Pokorny has been an exhibiting artist for over twenty years. Her large scale, assemblage-based sculptural works have been widely exhibited at venues across the US. Recent solo shows at Platform Gallery in Seattle and Front Room Gallery in New York augment a long career of solo exhibitions, beginning with Gallery Paule Anglim, in San Francisco and continuing with Bodybuilder and Sportsman in Chicago. Selected group exhibitions include venues such as Yerba Buena Gardens, Southern Exposure, Victoria Room, and New Langton Arts in San Francisco, Foodhouse Gallery in Los Angeles, Gallery 400, Columbia College,The James Hotel, and Devening Projects +Editions in Chicago, and The Richard Peeler...

"Can't Get Her Off My Mind" is an original ceramic sculpture created by Steven Kemenyffy. 43"x30"x14" Ceramic Steven Kemenyffy (born 1943) is an American ceramic artist living and working in Pennsylvania. He is most recognized for his contributions to the development of the American ceramic raku tradition. He has served as a Professor of Ceramic Art at Edinboro University of Pennsylvania (formerly Edinboro State College) since 1969. He Has retired from teaching, but continues to produce artwork at his home studio in McKean, Pennsylvania. Kemenyffy is often characterized in regard to his contributions to American experimental ceramics of the late 1960s and early 1970s. More specifically, Kemenyffy’s contributions to American raku techniques are often cited. Kemenyffy has stated that his interest in raku came out of practical considerations: “We [Steven and Susan] were doing a variety of workshops in a variety of different media. Raku was always an official way of making pieces in a short period of time…In raku it seems to compress all the firings into one.” Kemenyffy, himself, describes his early work as “Biomorphic forms alluding to old ceramic traditions such as tiles, vases, and containers.” These works were often in excess of six feet tall and many times included mixed media elements. In 1974, Kemenyffy wrote about the work he was producing; “For several years now, my work has dealt with certain formal considerations. Chief among these is using clay in such a way as to crystallize the moment and permanentize the impermanent. These have been among the primary concerns of all potters since the earliest times.” Today, Kemenyffy continues his pursuit of biomorphic imagery and themes. He writes, “Personally I am most challenged by the business of transforming porous organics into porcelain.” For much of Kemenyffy’s career, he has worked in tandem with his wife, Susan Hale Kemenyffy. In 1987 Susan stated about their collaborative works: “Steven is the [sculptor], I am the drawer. These works would not exist if it weren’t for the sculpture; if it weren’t for the clay. The clay entity comes first and my drawings come second.” James Paul Thompson further clarifies this relationship (as observed in 1987): “Steven Kemenyffy uses patterns as a point of departure for his work, while Susan Kemenyffy...

Ceramic sculpture by Marcello Fantoni, 1950. Glazed ceramic. Single piece. Original signature. Cooking defect. Biography Marcello Fantoni was born in Florence on October 1, 1915. Gr...

The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants, animals, fish, and human figures. While Korean art, Buddhism, and Confucian be...

Malcolm Mobutu Smith Benevolent Manifestation Over the Land, 2021 Stoneware, slip and glaze Measures: 11 x 16 x 16 in.