A detail of a bed covered with raw clay roses Amythest Hultman Warrington’s exhibition “The Weight of It All”.
In the Eisentrager / Howard Gallery, two extremes could be found in clay. Half of it is filled with Taylor Sijan’s beautiful, finely crafted functional ceramic. The other side is covered in Amythest Hultman Warrington’s sculptural work that uses dripping water to dissolve the clay.
While the two Master of Fine Arts exhibitions differ in the use of the material and the presentation of the ceramics, they are linked in response to the coronavirus pandemic that sent artists home for months over the past year.
In Sijan’s show “Growth”, the reaction can be seen in the presentation of the work. A handcrafted table features two side-by-side breakfast place settings – plates, grapefruit bowls, cups – that reflect the fact that she and her partner ate together during the morning shutdown, a rarity before the pandemic.
On the shelves against the wall are more grapefruit pods and other pottery – spice jars, syrup jugs, and plates – kept in anticipation of the guests who come to eat together when life returns to normal.
Behind the table are sets of jugs and beakers on plinths – in Sijan’s presentation of the pandemic, put aside and transformed into art objects, so to speak. This is especially the case with a cake stand with small plates on top.
The porcelain pieces are universally exquisitely processed, many covered with colorful flower patterns, perfectly structured and easy to handle as functional ceramics.