Artist's Addie Draper (Mixed Media), Carl Gray Witkop (Burnished Earthenware Vessels)
Possible Artist's Reception: June 5, 2020
Exhibition curated on May 15, 2020
Please email contact: Valerie Tibbetts at email@example.com for appropriate arrangement to view show and purchases.
Addie Draper states, My work usually revolves around some aspect of nature. It evolves and moves ad rotates, using different media, different perspectives. My current work is on an exploration into natural forms, vegetative and geological. I use handmade paper into which I have incorporated grasses and other plants from my land. I also am using ecodyed paper which is a dying process using natural dyes and imprints from leaves, bark, flowers. Again I try to use the plants from my land. I am interested in textural qualities. I like my hand made paper rough, showing the grasses and fibers of the plants. The ecodyed paper produces a many layered effect where the various elements may lose their identity but produce a mysterious texture and color to the overall effect.
Carl Gray Witkop, states, I forget who it was who said: It is the job of the artist to teach people to see. As a potter I attempt to reveal to people what wizards call wild magic, the magic that dwells all around us. A wad of mud can transform into a beautiful vessel. Look closely. You can see the texture of the clay, you can see a little of what can be done with clay. If you are an artist, a wizard, you might catch a dream of what else might happen when mere mud becomes a medium. I often dig clay from he ground instead of purchasing it at a ceramic supply store. Digging ones own clay brings you to intimacy with the earth. Processing it so that it can be used, forming it with your hands, firing it with wood from the forest that the earth put forth, in a hole dug in the same earth that yielded the clay, is a way of allowing wild magic to enfold you.
I have a series where I stack paper on edge, creating layers reminiscent of geological layers. I also use the grid concept. I like the sense of order it provides, underlying a more chaotic surface area. Throughout all I try for a sense of movement and growth.
First Friday Citywide Event and Artist Reception, March 6, 2020
From: 5-8:00 PM
Meet & Greet Artist, Saturday March 7, 2020
From: 1-3:00 PM
Artist's Talk: 1:30 PM
Show Closes: April 24, 2020
Willi Singleton, states, Placeness (1) is what connects location with personally relevant meaning derived from experience of Place. My work for thirty-three years has been embedded in Place, specifically Hawk Mountain near Kempton, PA, both materially and conceptually. My pots are the mountains, rivers and valleys that surround my studio. My shapes and patterns are inspired by these same things, while the forms and facture reflect the centuries old Asian ceramic traditions I rely on. Coming across Relph's ideas has led me to think about Hybridization of Place, or how we interact with Place and engage in dialogue with it, altering it in ways that seem appropriate, while being shaped in return. For many of us, this includes incorporating aspects of other Places in the world that have been transformative for us. Building my Mashiko-style kiln in Kempton is such an example. Hosting visitors and old friends in this place further solidifies the interconnectedness of Place(s) that Hybridization of Place emphasizes.
For this show, I am responding visually to a second distinct place that I have been visiting regularly for almost a decade - Taos, New Mexico. The Sangre de Christo series of vertical vessels is my reaction to the towering landscapes and fractured rock faces of the Sangre de Christo Mountains. The new prints were mostly made during an artist's residency at the Herekeke Art Center in 2018, expanding on my previous theme of Mountains shaping Rivers and Rivers forming Mountains. In this new series, I am considering the mutual shaping of People and Place: People shaping Place as they are themselves transformed by process.
Please join me for this showing of art works about two Places dear to my heart.
1 This is a term used by Edward Relph and is probably a mash-up of his title: Place and Placelessness (1976)