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Artist's Statement
I make wood fired utilitarian pottery. Behind the creation of these
vessels are several driving philosophies. These philosophies guide
all aspects of my work.
I believe in making pots for everyday use, that work well for the
functions intended.
My work is made in harmony with the choice of firing method. Firing
with wood has several inherent qualities. These kilns have a distinct
wind and directionality to them. The pots I make are made of clay
bodies that are reactive to variations in temperature and atmosphere.
The wood produces ash, which lands on the pots and melts, forming
a naturally occurring glaze. The structural qualities of the pots,
in form and texture, are made to catch wood ash, controlling and
encouraging the pooling of this glaze. My work is made in dialogue
with the effects of the kiln. As each body of work is fired, questions
are answered and new ones are posed in a progressive conversation
with the firing technique. Wood firing is a process rich in variables.
I believe in making the pots with a revelation of process. I integrate
throwing lines and evidence of human touch into surface design;
I do not hide attachments of handles or spouts. I seek the inherent
qualities in the marks different tools make and I approach each
individual pot with a similar feel though the tool might differ.
This revelation of process harmonizes with the choice of wood firing.
Ware from a wood kiln speaks loudly about its making. I also seek
to express integrity of emotion. Each pot holds an exploration of
mood, as I harmonize the foot of the pot with the rim and the handle
with the spout, in an attempt to create a unified work. Much of
my work reflects a playful humor that pervades my life, and feeds
my spirit.
Utilitarian pots may never be part of an avant-garde; a cup lacks
the shock value typically associated avant-garde movements. Yet
artistic potters are privy to a unique and subversive role in contemporary
art.; whereas much of 20th Century art has been an attempt to merge
art and life, pulling Art out of museums, or bringing life into
the setting of the museum, the functional pot continues to hold
a place in everyone's home. It is in the home, rather than an artistic
institution, that I feel we potters should exploit. A cup is one
of the first things we hold in morning, and often one of the last
things we touch at night. By reintroducing artistic ware into the
home we can reconnect art and the everyday. --Simon Levin
About Wood fire Pottery
Wood firing is a process of individuality. The making of each piece
is full of variables and no two pieces are ever alike. The ash and
flame moving through the kiln etch their paths across the ware.
The ash melts forming a natural glaze bonded to the clay. I make
my work to take advantage of these variables, enhancing forms, and
painting with the fire. The loading of the kiln takes a day and
a half because placement determines the pot's markings.
Wood firing is
an intense and communal activity. For each firing we have a crew
of 4 to 6 people, who take shifts working around the clock for four
days to load and fire the pots. The pots reward you by showing the
passage of time and flame and labor. Each piece is a narrative telling
the story of every log split and the journey of ceramics through
a river of flame. Those who participated in a firing feel a strong
connection to the pottery they earned. And those who use wood fired
pots can sense and read that story and continue the tale of interaction
by eating and drinking out of the pottery.
Education
• Master of Fine Art in Ceramics, University of Iowa, Iowa
City, IA, May 1998.
• Master of Art in Ceramics, University of Iowa, Iowa City,
IA, May 1997.
• Bachelors of Art, Grinnell College, Grinnell, IA May 1990.
Workshops Taught
• Southern Illinois University, Kiln building, Edwardsville,
IL. 2003.
• Syracuse University, Kiln Building, Syracuse, NY. 2003.
• Corning Community College, Kiln Class, Corning NY. 2003.
• Good Dirt, Clay center, Athens, GA 2002.
• Northern Clay Center, Minneapolis, MN 2002.
• Fired Earth Pottery, Appleton, WI 2002, 2001, 2000.
• Archie Bray Foundation, Helena, MT 2001.
• Walton Wood Kiln, Walton, NY 2000.
• University of Wisconsin, Fox Valley, Appleton WI 2000.
• Kirkwood Community College, Cedar Rapids, IA, 1999
• Dallas Craft Guild, Dallas TX, 1999
• University of Missouri, Columbia, MO, 1999
MacNider Museum, Mason City, IA, 1998
• University of Wisconsin, Steven's Point, WI, 1998
• Grinnell College, Grinnell, IA, 1998
• University of Missouri, Columbia, MO, 1998
Solo Exhibits
• Speaking Volumes, The Signature Shop and Gallery, Atlanta,
GA 2002.
• CIVIL WARE, The Signature Shop and Gallery, Atlanta, GA
2000
• OBJECTING, Studiolo, Iowa City, IA, 1998
• ART OF UTILITY, Art Guild of Burlington, Burlington, IA,
1998
• ARTOFUTILITY, Eve Drewelowe Gallery, University of Iowa,
Iowa City, IA, 1997
• RE-TURNING,, Alumni Show, Grinnell College, Grinnell, IA,
1996
• RE-NAIVE, Eve Drewelowe Gallery, University of IA, Iowa
City, IA, 1996
• GIFTS OF FLAME AND LIGHT, Berman Gallery, Atlanta, GA, 1995
Recent Group Exhibits
• Strictly Functional Clay National, Lancaster PA, 2004, 2003,
2002, 2001, 2000.
• State of Clay, Lexington art and Craft Guild, Lexington,
MA 2004.
• First helpings: Plates and Platters, Northern Clay Center,
Minneapolis, MN 2004.
• Winter tour, Art Stream Nomadic Gallery, 2004.
• All Over the Map, Black mold Studios, Indianapolis, IN.
2004.
• Snow Birds, Santa Fe Clay, Santa Fe, NM 2003.
• Tea for Two or Twenty, Northern Clay Center, Minneapolis,
MN 2003.
• Sensuous, Red Star Studios, Kansas City, MO, 2003.
• Clay, The Museum of Contemporary Art of Georgia, Atlanta,
GA 2003.
• American Pottery Festival, Northern Clay Center, Minneapolis,
MN 2003, 2002.
• For the Table, Santa Fe Clay, Santa Fe, NM 2002.
• Celebrating 35 Years, Art Guild of Burlington, Burlington,
IA 2002.
• American Pottery Festival, Northern Clay Center, Minneapolis,
MN 2002.
• Necessary Objects, The Arts Center, St. Petersburg, FL 2002.
• Clay and Glass, Corning Community College, Corning, NY 2002.
• 2001: A Clay Odyssey, Archie Bray Foundation 50th Anniversary,
Helena, MT 2001.
• Strictly Functional Clay National, Lancaster PA 2002.
• Strictly Functional Clay National, ITC Award, Lancaster
PA 2001.
• Strictly Functional Clay National, Lancaster PA 2000.
• Celebrate the Object, Utilitarian Clay III, Arrowmont School
of Arts & Crafts. Gatlinburg TN 2000.
• Teapot Invitational, ZenClay Gallery, WV 2000.
• Bridge: A Show of Ceramic Work, Delta Axis Gallery, Memphis,
TN 2000.
• State of Clay, Lexington Art and Craft Guild, Lexington,
MA 1999.
• Ceramic Alumni Exhibit, Stanley Gallery, University of Iowa,
Iowa City, IA 1999.
• Clay, Fiber, Paper, Glass, Metal & Wood Exhibition.
Octagon Center for the Arts, Ames, IA 1999.
• Clay Cup VII, Southern Illinois University, Carbondale,
IL 1999.
• 1999 NCECA Clay National. Columbus Cultural Arts Center,
Columbus, OH 1999
• Viewpoint Ceramics '99, Hyde Gallery, Grossmont College,
El Cajon, CA 1999.
• Japanese Table, Iowa Artisans, Iowa City, IA 1999.
• 4 For Form and Function, Summit Street Gallery, Iowa City,
IA 1999.
• Tea or Poetry: Artists and the Teapot, Iowa Artisans, Iowa
City, IA 1998.
• Greetings From Iowa, Fassbender Gallery, Chicago, IL 1998.
• Ceramics USA 1998. University of North Texas, Denton, TX
1998
Exhibits Curated
• Oshkosh Art fair, Juror, 2000.
• Functional Fire: Woodfired Cup Exhibition, Juror, Iowa Artisans
Gallery, Iowa City, IA, 1999
• Container: Selections from the Mannheimer Collection, Museum
of Art, University of Iowa, 1997-98
Works Cited
• Contemporary American Ceramics, Kevin Hluch, Krause Publications,
2001.
• "The Functional Sagger," Clay Times, Vol. 5, No.
2, pp 38-39, March/April, 1999. Art In America, 1998 Catalogue of
American Artists
• Art In America, 1998 Catalogue of American Artists.
• "Gallery," Clay Times, Featured Artist, Color
Plate, Vol. 3, No. 2, p. 37, April 1996.
Grants & Awards
• Art in the Park, Appleton, WI, Best 3-D 2002, Best of Show
2000, Honorable Mention 2001.
• ITC Kiln Coat Award, Strictly Functional Pottery National,
2001.
• Awarded Best of Utilitarian, State of Clay, Lexington Art
and Craft Guild, Lexington, MA, 1999.
• Commissioned work for Grinnell College's dedication Bucksbaum,
1999.
• Len Everett Scholarship in Art, 1997-98.
• Glenn C. Nelson Scholarship in Ceramics, 1996.
Kilns Built
• Anagama, 250 cubic feet, Southern Illinois University, Edwardsville,
IL. 2003.
• Anagama, 100 cubic feet, Syracuse University, Syracuse,
NY. 2003.
• Anagama, 100 cubic feet, Corning Community College, Corning,
NY. 2003.
• Downdraft wood kiln, 100 cubic feet, dual fire boxes, Manatutu,
East Timor. 2003.
• Anagama, 200 cubic foot stacking area, Mill Creek Pottery,
Gresham WI 2002.
• Single chamber wood kiln, Mill Creek Pottery, Gresham WI
1999.
• Anagama, consulted and helped build, University of Missouri,
Columbia, MO 1997.
• Single chamber gas salt kiln, Dallas Craft guild, Dallas
TX 1997.
• Two chamber catenary arch Wood kiln University of Iowa ,
Iowa City, IA 1997.
• Tube kiln. Wood-fired, University of Iowa, Iowa City, IA
1996.
• Two chambered sprung arch Noborigama wood/salt kiln, 400
cubic feet stacking space Farmington, GA 199
Private Collections
• Archie Bray Foudation, Helena MT.
• Grinnell College, Grinnell, IA
• University of Iowa Museum, Iowa City, IA.
Outstanding projects
• Creation of a working pottery and water filtration project,
Manatutu, East Timor. 2003. |
