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Good Girls 1968 portraits, Washington State University Museum of Art, each 13 in. (33 cm) in height, earthenware, glaze, plaster, 2003–2007.

From Personal to Universal: Marilyn Lysohir’s Good Girls 1968

Posted On March 26, 2010 0 Comments

An installation of busts pays homage to an artist’s classmates of 40 years ago, blending personal reminiscence with historical and cultural reflection.

Large Flower with Snake and Artichoke, detail from From the Halls of Love.

David Scott Smith: A Bricolage of Light

Posted On March 26, 2010 0 Comments

A sculptor constructs agglomerations of unrelated slip-cast objects in experimental combinations in order to encourage a sense of mystery and creative exploration, both in the making process and the finished work.

Lydia Thompson: Promises

Posted On September 15, 2009 0 Comments

A field of blooming cotton under a blue sky can be dazzling, even
disorienting as its snowy appearance conjures associations radically at
odds with the dry heat of a summer day. This curious confounding of the
senses is perhaps only fitting, since cotton is enveloped by other,
more troubling, contradictions as well. Fleecy white cotton bolls are
visually and tactically among the most appealing of all natural forms,
and there is little wonder that an artist should find them formally
inspiring. To the eye, what could better exemplify purity?

Stretching the Limits: Slab Building to Create Pots That Look Like Pillows

Posted On April 28, 2008 0 Comments

Today, we bring you the work of Margaret Bohls who stretches the limits of porcelain to explore the ideas of expansion and restraint. Margaret’s vessels have the appearance of soft, cushy upholstery. They seem like they are being inflated from within. She achieves this effect by painstakingly creating each bulge in her slab building process, which author Glen R. Brown elaborates on below.