Sarah Lee & Noah Singer: Control and Contrast
Singer鈥檚 nonfunctional ceramics subtly and overtly provide classic silhouettes. Singer focuses on pushing form and glazes beyond their naturally presumed boundaries. Handles are oversized, slightly off center, or mismatched as they bisect and pierce the clay body. Placement, size, and gesture of the handles challenge each other and refute the function commonly associated with its form. Beginning with an idea, image, or shape, Singer then creates a dialogue with the clay on the wheel, the glaze, and the chemicals within the materials themselves. Listening and reacting鈥攅ither pushing with or against鈥擲inger鈥檚 process is as much an act of responding as it is intent.
Singer lets go of intention after his preliminary designs, aside from his choice of glaze. Formulating his own lexicon of glazes, Singer explores the movement and interactions that different glazes have with each other and the clay. Rather than viewing glazing faults鈥攃rawling, shivering, and running鈥攁s problematic, Singer allows these imperfect reactions.Glazes pull away from the clay, revealing the clay body, a reminder of the materiality, while the vessel鈥檚 form pushes us further away into thoughts of other shapes and figures.
Within Lee鈥檚 paintings, ambiguously familiar and enigmatic forms are found within her seemingly spatial, yet flat surfaces. Lee鈥檚 employs elements of artificiality in her abstracted paintings鈥攅xtreme smoothness, unnatural coloring, and homogeneity of surface detail. Although the surfaces she renders are not plausible worlds, they are seductive鈥攁nd more importantly鈥攖hey are believable. She is fascinated with the uncanny atmosphere of virtual reality and the aesthetics of a digitally constructed image.
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Singer鈥檚 nonfunctional ceramics subtly and overtly provide classic silhouettes. Singer focuses on pushing form and glazes beyond their naturally presumed boundaries. Handles are oversized, slightly off center, or mismatched as they bisect and pierce the clay body. Placement, size, and gesture of the handles challenge each other and refute the function commonly associated with its form. Beginning with an idea, image, or shape, Singer then creates a dialogue with the clay on the wheel, the glaze, and the chemicals within the materials themselves. Listening and reacting鈥攅ither pushing with or against鈥擲inger鈥檚 process is as much an act of responding as it is intent.
Singer lets go of intention after his preliminary designs, aside from his choice of glaze. Formulating his own lexicon of glazes, Singer explores the movement and interactions that different glazes have with each other and the clay. Rather than viewing glazing faults鈥攃rawling, shivering, and running鈥攁s problematic, Singer allows these imperfect reactions.Glazes pull away from the clay, revealing the clay body, a reminder of the materiality, while the vessel鈥檚 form pushes us further away into thoughts of other shapes and figures.
Within Lee鈥檚 paintings, ambiguously familiar and enigmatic forms are found within her seemingly spatial, yet flat surfaces. Lee鈥檚 employs elements of artificiality in her abstracted paintings鈥攅xtreme smoothness, unnatural coloring, and homogeneity of surface detail. Although the surfaces she renders are not plausible worlds, they are seductive鈥攁nd more importantly鈥攖hey are believable. She is fascinated with the uncanny atmosphere of virtual reality and the aesthetics of a digitally constructed image.Artists on show
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