Christine Colby

MFA Thesis Exhibition

2010-12-08T18:28:00.000-08:00

Press Release

University of the Arts

MFA Thesis Exhibition 2010

What: University of the Arts

MFA Program in Ceramics, Painting and

Sculpture

When: Opening Reception:

Saturday, December 18th, 2010

6:00‐9:00 PM

Exhibition continues: December 18‐21st

and January 3‐14th, 2011.

Where: University of the Arts‐ Rosenwald/ Wolf

Gallery, Hamilton Gallery, Arronson

Gallery, Gershman Y Gym, Open Lens

Gallery, Hamilton Hall Platforms‐‐ 333

S. Broad Street, 320 S. Broad Street, 401

S. Broad Street Philadelphia, PA 19102

Details: Please join us on December 18, 2010

from 6‐9 p.m. for the Opening Reception of the

Thesis Exhibition of the MFA Ceramics, Painting and

Sculpture Program at the University of the Arts! The

exhibition will be located in the Rosenwald‐Wolf

Gallery, Hamilton Hall Gallery, Arronson Gallery,

Gershman Y Gymnasium, Open Lens Gallery and the

Hamilton Hall Platforms. All of the Galleries that will

be hosting artwork are located within walking

distance from Hamilton Hall at the University of the

Arts at 320 South Broad Street.

The Thesis Graduate Students in the MFA Exhibition

are Veronica Cianfrano, Jessie Clark, Jess Cohen,

Christine Colby, Renee Cortese, Martha Ferguson,

Marshall K. Harris, Andrew Heisey, Michele C.

Kishita, Sean Mattio, Lauren McCarty, Teresa Anna

Palmer, Nancy Gail Ring, Andrew R. Walker and

Matt Zigler.

For more information and for images please contact:

Joe Girandola, Director

MFA Program in Studio Art

(215) 717‐6299 jgirandola@uarts.edu

Fall News!

2010-09-27T16:12:00.000-07:00

It's a busy busy busy busy time of year. To sum it up, I'd like to highlight the following current and upcoming events:

Ceramics Monthly, October 2010 issue, page 18. Exhibition announcement for The Clay Studio graduate show.

Mackey, Maureen. Experience Clay (2nd Edition). Worcester: Davis Publications.

Title page (frontspiece), and images throughout. My students have several images throughout the book. There's even a few pictures of students working in my classroom!

Volusia County Art Educators

Opening reception: Thursday, September 2, 2010, 5-7 PM

Exhibit runs until October 1, 2010

ArtHaus

Port Orange, FL

This show is extended through October, closing date TBA.

Southeast College Art Conference

October 21-23, 2010

Virginia Commonwealth University

Richmond, VA

I will be speaking as part of the group, "Gone but not forgotten: Recovering History in 21st Century Art." I have also been awarded a Gulnar Bosch Travel Grant to help fund this event.

MFA Thesis Exhibition

Opening reception: Saturday, December 18, 2010, 5-8 PM

University of the Arts’ Rosenwald-Wolf Gallery

Philadelphia, PA

Here's the piece on the title page of Experience Clay. Special thanks to Maureen Mackey & Davis Publications.

Studio Visit: Michele Kishita

2010-08-10T16:05:00.000-07:00

Michele Kishita, painter
Philadelphia, PA
www.michelekishita.com

Michele Kishita’s pantings radiate with visual material; simultaneously, there is a sense of subdued tranquility that lures the viewer into her nuances of color and texture. Addressing properties of water, it is only appropos that Kishita’s body of work transform as well, maintaining interest and energy, and contain a continual flow of uniformity.

More than just literal landscape paintings, Kishita desires to “capture the memory or spirit of the landscape rather than render an objective depiction.” Her recent work uses the pull of gravity to lead paint drips in an orderly way that builds on the composition. Billowy cumulous clouds of bold hues perch inquisitively on a foggy horizon, partially concealing patterned collage, as well as delicate gold leaf. In her work “Wildflower Gorge,” a dark charcoal valley twists through the image, while a torn floral collage of origami paper observes quietly on the side.

Kishita’s work, like nature changing throughout the seasons, has bloomed. Previous investigations of paint marker on Bristol board have transitioned into dimensional cut shapes of wood panel, creating scenes and referencing dioramas or theatrical sets. Special care is taken to the cut edges of wood; Kishita uses torn patterned paper and meticulously wraps the edge. Thus creating a physical border that further defines her intentions of portraying perspective through her painting without the traditional use of a horizon line.

As an artist, Kishita embraces her life experiences and allows for her thoughts and interests to be reflected in her work. The influence of her time spent in Japan is depicted in her paintings in several ways. Formal characteristics found in Katushika Hokusai’s prints can be interpreted in Kishita’s work. Crisply painted edges, looming foggy skies, and towering mountain ranges have left a lasting impact on both artists’ work. However, Asian influence is not the only cultural reference found in Kishita’s paintings. She alludes to heavy patterning of Gustav Klimt, whose trademark style incorporates repetition of rhythmic shapes and is also known for an affinity of using gold in his paintings. Kishita’s ability to capture gentle atmospheric landscapes evoke tones from American painter Milton Avery. His paintings of broad shapes of color have a representational sensibility to them, yet they can be described as abstracted due to the flatness of areas. His ability to capture a sense of space within the layers of paint has defined him as a quintessential American painter in twentieth century art history.

By building layers of paint and collage and working them on the surface, Kishita is able to capture a topographical depiction of an environment through a two-dimensional media. Works in progress allude to a change in thought and experimentation; wood panels have begun to warp and curve away from the wall. One can only imagine the spirit of the landscape beckoning to the panels; therefore enticing us for what is yet to come. Pondering the principles of change in the Japanese aesthetic of wabi-sabi, Kishita’s work leaves the viewer reflecting upon their own personal experiences: to cherish what is impermanent, simple, and imperfect.

Photos of summer work

2010-08-05T06:14:00.000-07:00

Here are a couple of detail shots from work produced this summer.

Philadelphia Art Alliance's Vanitas Exhibit

2010-08-04T06:14:00.000-07:00

“Vanitas”

Philadelphia Art Alliance, 251 South 18th Street, Philadelphia, PA 19103

May 27-August 12, 2010

Long gone are the scenes of pastoral morbidity; the archetypal arrangement of overripe fruit and freshly hunted game are nowhere to be found in the exhibition “Vanitas” at the Philadelphia Art Alliance. The linking theme of the show is interpreted and represented differently by each artist, presenting a captivating experience throughout the dignified rooms of the PAA.

The staircase leading to the second floor galleries guides you with a velvet-sleeved banister, while an oversized crystal chandelier haloed by a Tiffany-ish shade of blue observes your arrival from above. Immediately, a baby-grand piano greets the viewer. Seductively perched on the lid of the piano is an altered chafing dish by metal sculptor Myra Mimlitsch-Gray; its peculiar form alludes to the show’s exuberance.

Beyond the prim landing an emerald green glow emits from the gallery featuring the work of Gae Savannah. Described as a sculptor that works in “new materials,” Savannah’s work is colorful, loud, and clamors for attention. She makes totemic assemblages of plastic found objects and veils of iridescent fabric. Themes of femininity, beauty, and physical appearance are prevalent; the collaged objects range from strands of beads, colorful hair clips, and child-size vanity tables. At first glance, Savannah’s work could be cast aside as a gaudy cacophony. What lies within the tiny caves and crevices of the work is what really matters. In her Vanitas, cascading trellises of jewel-toned plastic beads seduce and draw in the viewer to the beauty created by simple materials. Savannah’s ability to persuade the viewer to take a second look is what makes her work successful as well as a complimentary addition to the exhibit.

Myra Mimilitsch-Gray’s work takes an abrupt change from the lush decoration of Savannah’s. Her work is a unique hybrid--a sort of Lumiere from Beauty and the Beast-meets-Terminator 2. Domestic silver and copper objects take on a metamorphic form as they appear to melt under the weight of their own actuality. Her display room is presented in more of a traditional manner; works are secured under plexiglass to prevent unsightly fingerprints from curious gallery goers. Gray’s work exudes a strength in craftsmanship and skill, in addition to tiptoeing the omnipresent fine line of art versus craft. Gray’s work appears more subdued and serious than if it was shown in a different setting; surrounded by exuberant work, her transformation of objects occupies the back burner.

Candy Depew’s installation, Stilled Life, looks like a bicycle collided into skateboarders--in a diamond encrusted Koi pond. Skulls--direct iconography from the Vanitas tradition--appear throughout the installation, but appear fresh from a Mexican Dia de los Muertos parade float. Indicative of Depew’s aesthetic viewpoint is the practice of decoration beyond oversaturation. Depew describes her work as “mystical portrayal of feminine beauty,” however, the common references to mainstream fashion trends (Orientalism, splashy ambiguous shapes, gigantic diamonds, skulls) depict more of an Ed Hardy t-shirt factory explosion than feminine beauty.

The exhibit takes another contrasting direction in the neighboring gallery occupied by sculptors Katherine Kaminski and Audrey Hasen Russell. Visually, the mood is quieter, more sentimental and personal. Structurally, the room is divided in half, each artist displaying work on opposing sides. Kaminski’s combination of drawings and sculptures depict dream-like narratives, often literally sugar coated with a thick crystal crust. A blossoming romance between a woman and a deer are juxtaposed with floral arrangements and deer anatomy. Her work, I keep you here to stare at you when no one is looking, has the style of a funeral-home florist. A plaster Corinthian-style pillar maintains posture while a sumptuous silk flower arrangement cherishes a tiny deer figurine protected under a glass bell jar. Without her rock candy surface technique found on other pieces, I keep you here to stare at you when no one is looking reminds us too much of the arrangements sitting in our grandmother’s living room, perched on crocheted doilies.

Still life arrangements by Russell evoke remembrance through objects. Delicately balanced vintage glass mingles with blown glass orbs, expressing a yearning for the past. Stacked glass vessels adorned with plastic grass sprouts are sandwiched between clear plexi circles. Her works utilizing branches are the most emotionally delicate and personal, demonstrating process and the artist’s hand involved the in the creation of the object. The branches reach out from their bases, fragile tendrils traveling forward, balancing the personal dichotomy of maintaining one’s roots and traditions while acknowledging the independence of moving forward.

Vanitas does exactly that--it remind us of our past, our mortality--nevertheless, it celebrates living in the present as well. Each artist independently conveys the enjoyment of life, the pleasure in our earthly encounters, and the sentimentality of memory. However, for an exhibition with such creativity, personal history, and overflowing visual stimuli, it can hardly be regarded as the Latin translation of vanitas: “emptiness.”

Christine Colby

Last week.

2010-08-02T19:52:00.000-07:00

No update/post for the week yet. Last week I was frantically firing and I have been painting and gluing this week (aka what us clay folk call "cold finishing"). I have presentations and studio wrap up this week. I finished my website:

www.christinecolby.com

yeah!

I am leaving Philadelphia Saturday morning! I am really nervous about driving back to Fl, just because of the lack of time. We won't be stopping for the evening, as I have the rental car due back Sunday PM and I have to work Monday AM. Aghh. I can't believe it is time for pre-planning already!

Sneak peek!

Here's a fun little stacked guy. The majority of my positive feedback from profs & visiting artists is my ability to make surface not appear too ceramic-y. It's interesting b/c I really enjoy the manipulation of surfaces through multiple firings, but at the same time I really enjoy luscious-jolly rancher-juicy glazes like this banana yellow. Actually, it reminds me a lot of banana laffy taffy.

Gotta get back to work.

Weekly update

2010-07-25T18:00:00.000-07:00

It's been a busy week in the studio, in addition to all of the other summer responsibilities. I had a couple "epic fails" as my students would say, with things falling apart in the kiln, so let's hope I have better luck this week. Here's a couple photos to keep ya'll up to date.

Here's a piece I built in the kiln, with a combination of green and already glazed parts. Notice the wall bricks at the bottom of the kiln forming a gentle halo of support for those orange tentacles in case they shifted. Guess what? They didn't, and after 2 more firings, here's the result:

No, I'm not done with it. I think I want to make tiny little textured barnacles/scales over the pink. And something at the ends of each tentacle part. And maybe re-glaze the curlicues to add more blue. And I think I want to paint the little wedge on the right a magenta instead of that "blah" blue it is now.

This is why it takes me so long to make work. It's hard to decide when something is actually finished. complete. a done deal.

omg omg omg. Went to the Philadelphia Art Alliance with Jess & Andy to see the Vanitas show that I am reviewing for Criticism Seminar class. ~~Loved it all.~~ ~~Most of it.~~ The majority of it. It was majorly inspiring to me and I want to let go of a few inhibitions I have been holding onto. Watch out, world (not really).

This week is officially "Freak Out Time." Actually, it started last week, Friday morning, around 12:17 AM. Stay tuned for binge eating and under eye dark circles.

"So, can I see some of your new work?"

2010-07-19T19:48:00.000-07:00

I always balk at answering this question. My studio has nothing "complete." It looks like I have been playing a game of ceramic Tinker toys all summer (meaning the past 5 weeks). I guess I am kind of a masochist when it comes to clay; let's build in the most awkward, delicate, and with the most risk-taking possible. It makes it a challenge when it comes to studio visits from visiting artists. I hope they don't think I am doing nothing.

I actually thought I would have 2 or 3 pieces done this week, but alas, the kiln gods look down at me with scorn. What for? I do not know. Perhaps my affinity for mixing combustibles in clay bodies, or using slip from other clays as a surface treatment.

Here are some things I am playing around with:

This is actually glaze fired now, but I can't figure out a base that I am happy with.

I can't wait for this little one to be fired. . . for the 4th time. There's a lot more accoutrements now than this image.

One of these pieces broke as I was placing them in the kiln, so fingers crossed for something positive to come out of this arrangement.

This obviously is not a work in progress, but I had to post the beautiful stargazer lily arrangement in my studio. They smell amazing, and I think they are all at full bloom, so I will be appreciating these for the next few days. Thanks to my hun bun for the special delivery. I needed the pick-me-up!

The Clay Studio Grad Show Reception Recap

2010-07-18T13:12:00.000-07:00

This past Wednesday was the super-exclusive cocktail reception for the MBK Graduate Student Exhibition at The Clay Studio. Actually, I don't think it was very exclusive, and there were actually no cocktails either. It was nevertheless a grand time had by all--or at least Jess and me. I liked the chocolate rugelach.

Here are my two pieces on display.

This is my shiraz-gulping reaction to the "Big-baby-with-bad-wig-stabbing-frogs" sculpture winning first place. I guess size does matter. Bummer.

Ok, I am better now. I am very excited to be included in this exhibit. I really like my work they chose to show--great things come in small packages, right?

This is a piece by Allison Randall, another participating artist. At the opening, this piece was vertical, and now it is placed on its side. Bingo!

I like the orientation either way. However, with it on its side, I instantly noticed the packing peanut inside that little cavernous space. Oof.

Us ceramic kids decided that she must have wedged perlite or Israeli couscous in the clay to get the tiny holes. Upon reading her artist statement, I learned that the holes were achieved by drilling tiny holes into the greenware for a month. My first reaction was shock, that she drilled holes for a month. Secondly, her artist statement was detailing how she made this one piece. wth? Sounds like someone needs pro-prac.

NYT link

2010-07-16T06:56:00.000-07:00

Nicole Cherubini's new show @ D'Amelio Terras
http://www.nytimes.com/2010/07/16/arts/design/16galleries-001.html

http://www.damelioterras.com/exhibition.html?id=716

In the studio!

2010-07-13T19:15:00.000-07:00

Beans, bean, the magical fruit! Here are two forms @ cone 04 that had a bag of Trader Joe's bean blend wedged in the clay body. Lots of bean ashes but cool texture. The beans opened up the clay a lot and left the bisque very lightweight. Doing a cone 5 glaze test to see how that seals up the surface.

I wanted to make my own extruder dies and thought masonite would be strong enough. Humph. I was very wrong. The forms were hard enough to cut out with the slow scroll saw, so I didn't want to redo them. Reinforcing the openings with scrap wood worked for about one batch, but it is obvious that the die on the right didn't stand a chance to 80 lbs of pressure. Bummer. I don't know if I can stand the heat in the wood shop to remake these. It is a sauna in there. :(

Here I am cleaning bean ashes out of the bisque forms. This is my "work room" in my studio. I also have a "clean room," which functions as a critique area & office. My iPhone camera is really foggy; I think my phone is slowly self-destructing so I have to break down and get the iPhone 4.

Criticism Wordle

2010-07-13T19:04:00.001-07:00

Artist Opportunities Presentation for Pro Prac

2010-07-08T06:16:00.000-07:00

2 artist opps

View more presentations from Christine C.

Critical Sources Project: Ceramics Monthly

2010-07-07T19:46:00.001-07:00

Colby Ceramics Monthly

View more presentations from Christine C.

Oh, graduate school . . .

2010-07-06T08:57:00.000-07:00

I am really enjoying how MFA graduate students are described by different writers. First, here's some opening lines by Manya Scheps, of the Philadelphia Weekly, describing The Clay Studio graduate show:

"Warm in their halos of responsible life decisions, graduate students are darlings of the art world. Reappropriating the organic meta-narrative of nuance, or disfiguring the détournement of quotidian grace, or whatever it is that they’re exploring, they offer curators academic freshness. Really, really self-critical freshness."

Regarding the same The Clay Studio Show, here is the way the gallery intros their exhibit:

"There are many difficult times that one faces in life and in the life of an artist and being in Graduate School or transitioning from Graduate School to the life of a studio artist, are two of those times. One is continuously questioning their abilities, their talent, the content of their work, the quality, its value (not monetary), and their own personal aesthetic sensibility. It is a time of uncertainty, where the realities of making a life for oneself, in an exceptionally challenging field, finally start to become real. It is a time when support and affirmation are critical."

Gosh.

First Friday Art Walk in Philadelphia!

2010-06-28T08:24:00.000-07:00

The Clay Studio
THE SEVENTH ANNUAL
MARGE BROWN KALODNER
GRADUATE STUDENT EXHIBITION
Reed Smith and Harrison Galleries
July 2 - August 1, 2010
Opening Reception, First Friday,
July 2, 5-9pm

click to view clay studio upcoming exhibitions

Day Trip to New York: Storm King Art Center

2010-06-24T19:52:00.000-07:00

We also visited Dia Beacon, but no photography was allowed. It was an inspiring day, despite the heat, humidity, insect swarms, the torrential downpour, and the lack of electricity. It was my first time visiting each venue. I really enjoyed the actual Dia building. The natural light filled the space really well.

Photographs of Spring 2010 Work

2010-06-22T05:52:00.001-07:00

First post!

2010-06-20T11:22:00.000-07:00

The purpose of this blog is to document the Summer 2010 MFA semester @University of the Arts, in Philadelphia, PA. I will be focusing on explorations within my ceramic art, research, and the summer experiences.

Christine Colby

MFA Thesis Exhibition

Fall News!

Studio Visit: Michele Kishita

Photos of summer work

Philadelphia Art Alliance's Vanitas Exhibit

Last week.

Weekly update

"So, can I see some of your new work?"

The Clay Studio Grad Show Reception Recap

NYT link

In the studio!

Criticism Wordle

Artist Opportunities Presentation for Pro Prac

Critical Sources Project: Ceramics Monthly

Oh, graduate school . . .

First Friday Art Walk in Philadelphia!

The Clay Studio

THE SEVENTH ANNUALMARGE BROWN KALODNERGRADUATE STUDENT EXHIBITION

Day Trip to New York: Storm King Art Center

Photographs of Spring 2010 Work

First post!

THE SEVENTH ANNUAL
MARGE BROWN KALODNER
GRADUATE STUDENT EXHIBITION