Gallery presents Sextuplets, a group show of
six contemporary ceramists: Otto
Heino, Shane Keena, Ricky Maldonado, Biliana Popova, Porntip Sangvanich,
and Fred Yokel. All are
multi-award winning ceramists and masters of clay whose forms vary from
vessels to sculptures all sharing a common bond with their keen attention
to rhythmic lines and surface treatments through the glazes used. The
exhibition will be held from June 9th to July 28th
and the opening reception
for the artists will be held on Saturday, June 9th from 6 –
Heino is a master ceramicist
who is known for his clean lines, distinctive glazes, and focuses on
traditional and utilitarian pottery redefining the relationship between
ceramics and modern art.
Ricky Maldonado, a multiple award winner, is known for his geometrically detailed sculptural forms. His coil-built and hand burnished works are slip decorated with the obsessive skill of a pointillist painter producing gem-like ceramic objects.
several international and national invitationals, is known for his
frequently dazzling spiny or encrusted marine like life forms which encase
and protect their visceral interiors. His sculptures are enigmatic,
organic, exquisitely formed and seem as though nature herself produced
Biliana Popova was
born in Varna, Bulgaria and is the co-founder of K&P Studio in
Brentwood, California. Her pieces are hand built from stoneware, using
simple tools to scrape, shape and cut through the clay. Her sculptures
conjure a sense of irony visually defying logic imbuing the naturally
weighty material of clay with a sense of lightness and fragility via soft
lines and delicate surfaces.
Porntip Sangvanich is
known for her brilliant colored teapots and her mastery of marrying
influences from Vienna 1900 and Memphis 1980, the Italian design movement.
creates his work in what he refers to as the “sloils” method – a
combination slab and coil. He typically starts with the feet and works his
way up coaxing the clay to get the flow of the stance for which he is
striving. In the last four to five years, Yokel’s work has seen a
transformation from more detailed human forms to volumetric shapes more
strongly suggesting stances and movement. This shift forces the viewer to
pay less attention to the parts and more attention to the whole.