An Altered Future, 2020
Liv Antonecchia x Matt Wilson

Stoneware clay with upcycled utensils.
10 x 7 x 10 inches

Joint Artist Statement:
This piece is an alternative idea to what a bird and the landscape could be. Using materials of steel and clay the visual is familiar and foreign at the same time. Will nature adapt to the changing environment in the future and if so what will it look like?

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Past, Present
Present, Past, 2020
Ruth Ballou x Kristy Bishop

Porcelain
11 x 11 x 9 inches

Joint Artist Statement:
When collaborating on this piece, Kristy Bishop and Ruth Ballou focused on the tactile nature of the clay and how easily pattern is rendered into its surface. As a fiber artist and especially as a weaver, Bishop is particularly drawn to texture and pattern. The amorphous forms that Bishop sculpted are defined by their relationship to each other in the space. Ballou created the fortress-like wall which surrounds the forms and it can be interpreted to either protect or obstruct, representing multiple phases of movement at once. The carved surface of the walls -- cut-out openings and layered and scraped underglazes -- gives the sense of loss and growth as well as mobility and immobility. These themes have always been part of the human experience.

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Yesterday’s Joy, 2020
Fiorenzo Berardozzi x Tim Hussey

Slip, acrylic, oil, and collage on stoneware.
10 x 17 x 10 inches

Joint Artist Statement:
This piece is a reaction to each artist’s use of forms, lines, colors, and decisions.

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Fine Dining, 2020
Susan Gregory x Dontré Major

Wheel-thrown porcelain with iron oxide and bronze glaze layered in Cyanotype photographic printing.
14 x 2 inches

Joint Artist Statement:
Working with age-old techniques, the artists, inspired by Southern history, combined processes to make a non-functional serving piece entitled Fine Dining. The wheel-thrown porcelain platter frames a photographed image representing an enslaved woman. The piece references the opulent elegance of the Antebellum Period as it's juxtaposed with the harsh realities of enslaved Africans in that time.

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Vacant Howl, 2020
Susan Klein x Adam Eddy

Sprayed acrylic on ceramic stoneware.
10.5 x 6.5 x 5 inches

Joint Artist Statement:
Klein created shapes informed by the work of Donte K. Hayes and Adam Eddy. The top form relates to Hayes' bulging forms while the lower grid references a common theme in Eddy's work. The application of highly saturated color without apparent brush strokes emphasizes an artificiality of Eddy's technique. The unbalanced form invokes a top-heavy society that feeds on a wobbly and precarious base until it either collapses or recoils.

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Airplant, 2020
Jeff Kopish x Hirona Matsuda

Painted earthenware, cement, oyster shell, marabou feather, and thread.

Joint Artist Statement:
Water and air are flexible, mutable, conforming. Stone and earth are solid, stable, and hard. Collaboration requires a fluidity of process that is grounded in a common purpose. Our work embodies this essence of working together and reminds us that this kind of balance is essential as we navigate life.

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Creep, 2020
Annie Rhodes Lee x Jocelyn Châteauvert

Paper pulp, porcelain, and concrete block.
8 x 9.5 x 11 inches

Joint Artist Statement:
Our distinct forms inspired and informed the collaboration Creep, a story of nature colonizing a concrete rubble landscape. After building the concrete base together Lee and Châteauvert worked individually, and then grew the paper and clay into a new habitat.

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Commune Bowl, 2020
Allison McDermott x Camela Guevara

Glaze with fiber on porcelain
5 x 9 x 9 inches

Joint Artist Statement:
Taking a lighthearted approach to collaboration, artists Allison McDermott and Camela Guevara combine their styles and mediums in this ceramic bowl. McDermott formed and shaped the broad bowl on the wheel. She then pierced and embellished the bowl with her signature dotted style, envisioning the bowl's broad surface as a canvas. Guevara employed her intuitive abstract painting and style in underglaze, as well as embroidery after a shiny coat of glaze. Trading the piece back and forth several times allowed each artist to draw from their own techniques and achieve a cohesive design with playful color and texture to produce this one-of-a kind ceramic piece.

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Nurture, 2020
Jena Pallar x Lese Corrigan

Porcelain, acrylic, epoxy on board.
10 x 16 x 2 inches

Joint Artist Statement:
Responding to the work of Donté K. Hayes, porcelain was used by Jena Pallar as the medium for hands posed loosely rendering the ancient yin yang symbol representing balance and harmony. Lese Corrigan then mounted the hands on a board with a painting of what she calls her rising brush strokes -- a calligraphic expression of energy rising from the earth towards the heavens. The gestural marks are created by hands and cradled in this instance by the porcelain hands thereby protected and nurtured. Through this collaborative process, Lese Corrigan and Jena Pallar present a piece representing the rise of balance, support, and understanding.

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Beacon, 2020
Maria White x Megan Aline and Robert Lange

Wheel-thrown and carved porcelain. Glaze with 22 karat gold luster. Fired in oxidation. Painted with acrylic and oil paint.
5 x 7.5 inches diameter

Joint Artist Statement:
Inspired by forms, textures, and colors Maria White created a minimal yet elegant piece of sculpture, which was handed off to Aline, who initially build up a background composition using acrylic paint in multiple layers and various thicknesses. In response to Aline, Lange incorporated an animal into the landscape using oil paint. The three-part collaboration uniquely displays each artist's strengths.

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