Michael Eden (UK)
Michael Eden is a maker whose work sits at the intersection of craft, design and art, exploring contemporary themes through the redesign of historical, culturally familiar objects utilising digital manufacturing and materials.
An MPhil research project at the Royal College of Art allowed him to explore how his interest in digital technology could be developed and combined with the craft skills that he had acquired during his previous experience as a potter.
Through this he investigates the relationship between hand and digital tools. He is particularly interested in how the tacit knowledge and sensibility to the 3 dimensional object, developed through extended ceramic practice can affect and influence the approach to the creation of objects using digital technology.
As a member of a unique generation that has bridged the digital divide, he firmly believes that he is able to contrast and compare life before and after the invention of the personal computer. For Eden it is a matter of choice, as life at the beginning of the 21st century has furnished makers with a wider choice of tools, materials and processes with which to realise ideas and concepts. All have their place, the new does not replace the old; the key is to make appropriate use of them.
Jackie Brown (USA)
My work stems from an interest in nature, science, and living systems and I believe whole-‐heartedly in arts capacity to enrich the way we see, experience, and understand the world around us. My primary focus is sculpture installation and I work to create immersive environments that invite viewers into imagined biological systems. It can often be hard to tell if the forms in my work are healthy or harmful growths and an important undercurrent is an interest in the human manipulation of living systems, particularly advances in bioengineering and experiments that involve combining or altering the basic components of nature. I see this frontier as fraught with both exciting and unsettling possibilities and while each work is imaginative, I hope to encourage viewers to consider the shifting nature of the world around them.
Cheyenne Rudolph (USA)
My work engages in subverting accepted and expected modes of feminine behavior by questioning the etiquette of the mundane. Much of my work places invented functional objects in a domestic context, and assigns sexually provocative implications to ordinary household routines. Paired with installation and interactive performance, my ceramic work re-contextualizes highly specific functional forms that have been forgotten, replaced, or improved upon by modern technology, generally to the aid of the modern homemaker. Centering on issues women regularly face regarding societal expectations, personal identity, and self-sacrifice, my work presents elements of craft, etiquette, and gender as seen through a sardonic lens. It is my intention, through this work, to both satirically illustrate the challenges I face as a woman and actively engage the viewer and participant to consider their role in perpetuating or shifting the dialogue around feminism today.
Amy Santoferraro (USA)
Objects become charged with meaning, history, sentiment, and the authority to tell stories as I rowdily rummage through thrift stores, dollar stores, hobby stores, and hardware stores seeking objects and materials, whose usefulness has been exhausted or underutilized and await a new imagined life. I carefully handpick and catalogue objects and materials that are familiar or boast a degree of promise and beauty to me. I put objects and stories together piece by piece, relentlessly tinkering with objects and ideas until they fit and work in a way that is very mine. After all, I am the boss of them. Narratives, both personal and adopted third person, slip into and then take over the work. I am attracted and magically repulsed by the insertion and "standardized
personalization" of remembrance and celebration feted in kitsch and souvenir vernacular. I beg these ideas and objects to buck-up; acknowledge and engage their own artificiality and hidden agenda of astute cute.
Kerry Jameson (England)
Things will start with an undigested emotion or an idea that has to be worked through, making has become a way of understanding, a place to store things, perhaps a way of joining the inner experiences with outer surroundings. It is the difficult complicated emotions that interest me, the things which we like to keep concealed but which have nevertheless come to light, and that perhaps sit uneasily in our civilized world. I look to find a rhetoric, a means of articulation, for what I am trying to say whether in the everyday occurrences or in museum collections, books and my own photographs. I start searching and collecting, trying to find a face and a body for the invisible and unarticulated, and in doing so I look for different materials to create its texture. Many found objects are included, things that I may have come across whilst walking - that which lies underfoot, a stone between paving slabs, or a seed fallen from a tree. These are then absorbed and find a place in the material world of the sculpture.
Heidi Lau (Macau)
The driving force behind my work is to create an alternate world that comprises excerpted and fragmented narratives from personal and cultural memories, fables and natural history. Through understanding and manipulating raw material or chemicals, I strive to create forms that reveal not only my ideas but the characteristics and history of the medium itself. I have worked exhaustively with a variety of traditional medium; printmaking, ceramics and metalsmithing. Each medium also denotes a specific way of storytelling. My printed works on paper function as proposition and contemplative manifestation of the invisible order of the universe. They are composed of geometric forms inspired by magic charts and mandalas juxtaposed with renderings and acid washes that resemble nebulas or alchemy. I am also creating a series of fantasy landscapes in clay that installed in the gallery suggest a garden setting. I want to explore the Garden as a mysterious, paradisiacal enclosure that transcends time and disorder. Through creating collections of fictitious monuments and artifacts, I am composing the history of a mystical world in a non-‐linear manner by suggesting its existence and decline. Grew up in Macau, a colony of Portugal on the brink of its dissolution and then an immigrant in the United States, the anomic nature of history and culture and the nostalgia for collective memories have caused me to be drawn towards nature and the utopian. By building an encyclopedic body of work that is pantologic and objective, I would like viewers to engage in their own imagination and wonder for the inexplicable and unknown.
Teri Frame (USA)
Clay is a material that has been mythically linked with physical embodiment for millennia and across myriads of cultures. It can implicate a hairless, fleshy landscape and emulate the skin's life-glow. As clay dries, it takes on the delicately withered patterns of the aging body. Its mutable nature and transformative properties allow for a process through which Frame seeks transmutation.
This work takes into account the 20th century psychotherapist Paul Schilder's writings in The Image and Appearance of the Human Body. He theorized that the body image is in continual flux, and stressed its mobility, flexibility, and fluidity. He emphasized the changing nature of the body image and stated, "It is the continuous build-up of a shape which is immediately dissolved and built up again." The plasticity of clay enables Frame to transcend the boundaries of her skin. By manipulating her physical borders, she performs a protean identity.
Darien Johnson (USA)
Darien Johnson is concerned with how the absorption of information through digital media defines a person's notion of reality.
Stemming from an awareness of continually altered states of perceptual consciousness, Darien's work represents the entanglement of human cognition and digital processing. By acquiring and manipulating visual information, he acts as the human element while directly engaging in the process in question. The digital compositions are then china painted onto porcelain forms, which are manifestations of the seemingly fluid movement of human cognition.