ROUGH Stuff: A Celebration of WILD Surface (April 25 – May 25, 2019) at Cavin Morris Gallery, New York.

Click here to view the gorgeous Rough Stuff Catalogue: https://issuu.com/cavinmorris/docs/rough_stuff_catalog_1

Joining Cavin Morris Gallery has widened my horizons enormously. The timing was perfect. For many years, while I was finding my place with clay, I had rarely looked at other art. My focus was studying aspects of the natural world and experimenting with the language of form. When Randall Morris contacted me I had just started really getting into seeing new art on social media, was settled into a spacious new studio, had lurched through one of those health dramas that gets you right in touch with the essentials, and was getting drawn into the powerful, mysterious beauty of The Brecon Beacons National Park, our new home.

The incredible exhibitions they put on at Cavin Morris, beautifully presented, are fascinating, engrossing, challenging and awakening. Randall Morris and Shari Cavin are geniuses at finding artists who are totally involved and living in their making. They are experts in their field and very interesting. Read anything they have written, it will be enriching.

Image may contain: 2 people, people smiling, closeup
Shari Cavin of Cavin-Morris Gallery: “So the question becomes: How can we use self-taught artists’ biographical information? For, after all, familiarity with it can enrich our appreciation of their art. Self-taught artists create in spite of life’s obstacles. Their art-making may be seen as an act of courage in the face of life’s harshness. There is an undeniable moral influence that self-taught artists exert on trained contemporary artists. Their message: Stay true to yourselves.” 

Randall Morris: “This field may be seen as part of the broader contemporary-art scene but it doesn’t play by its rules. Critics and new scholars constantly try to chop the body to fit the bed, but this art has its own intentions and its own rules.”

“Outsider Art: Then, Now Tomorrow” by Edward M. Gómez in Raw Vision Magazine 93

They got me reassessing why people make their art and what really matters about people looking at and living with art. There are lots of answers to that and you need to find yours. There is a spectrum and it is not hierarchical. It’s important that there is variety so that we have non-verbal communication for every aspect of our lives.

This link will take you to a fab page of past exhibitions at Cavin Morris where you can see the variety of astonishing art they show: https://wsimag.com/art/46537-the-fire-within

Through the Gallery I now have a network of creative friends that inspire, support and challenge me and share the courage to really go for it. My sculpture has gained immeasurably. It has been set free and has far more to offer the people who find it.

Cavin Morris never interfere with what you are making. They watch and study, listening to the rhythms. They see connections between art works so that their Exhibitions are conversations. Like a concert of fabulous music they enfold you and you become part of it all.

As with all their excellent blogs the following has a great selection of beautiful, evocative images and the text is really interesting. I was over the moon to see this write-up and be part of this particular show: it says everything I hope I am doing.

http://www.cavinmorris.com/blog/2019/5/11/rough-stuff-a-celebration-of-wild-surface?fbclid=IwAR2zfcUnfIdcM31sumW_3EgSyQIwRNDhsC_rVvTAFnsyL2S-Hf0VnCJ_r4o

ROUGH Stuff: A Celebration of WILD Surface (April 25 – May 25, 2019

Ashwini Bhat
Rebecca Buck
Melanie Ferguson
Peggy Germain
Mitch Iburg
Yukiya Izumita
Mami Kato
Lucien Koonce
Eva Kwong
Sandy Lockwood
Kirk Mangus
Lesley McInally
Freeda Miranda
Andy Nasisse
Rafa Perez
Sara Purvey
Chris Rond
Tim Rowan
Monique Rutherford
Jeff Shapiro
Avital Sheffer
Eugene Von Bruenchenhein
Mike Weber
Jane Wheeler

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ROUGH STUFF: A CELEBRATION OF WILD SURFACE

April 25 – May 25, 2019

The title, “ROUGH STUFF” is a deliberately ambiguous play on words.  The viewer might immediately expect an exhibition of wood-fired ceramics with great accumulations of ash, imbuing the surfaces with chthonic primordial landscapes.   And yes, viewers will find some of that rich technique in this exhibition, but in fact, we had something else in mind.

We live in cynical times.  In cynical times the first concept to be sacrificed to the beasts of dogma is most often ‘beauty’ or ‘grace’. To us, beauty makes rough and exquisite demands that the onlookers slow down and, however briefly, give themselves up to its call.  Beauty becomes a warrior in a performance reaching back to archaic times.

We want the clay to live in this exhibition.  It is common to link sculpted clay to landscape, but landscape is changing all the time right in front of us, especially now.  Landscape is umbilically linked to Place, and the art that Cavin-Morris Gallery shows, from Art Brut to ceramics (sculptural as well as tea and sake), to ethnographic, has always been closely tied to the myriad ideas Place awakens in the artists’ mind.  That vision of place runs the gamut from untouched and euphoric to dystopian.

That is really mean by ROUGH STUFF: a celebration of wild surface.  It is an exploration of the idea that never has earth, air, fire and water been more interactive with our daily lives than now.  

Like the tensed horse head in Picasso’s Guernica, our earth in all its beauty and ugliness is screaming to be heard.  Through the translations of visionary artists, we can always hear its real voice. 

Sculptors who use clay work with the raw essence of the planet that most of us take for granted.  We wanted special work for this exhibition, and we found them, created by the remarkable artists we have shown for years, and welcoming some amazing sculptors we felt would augment the vision.

We deliberately chose to emphasize the non-utilitarian aspects of their creations, with very few exceptions. The artists  experiment with local clays, they display edgy aesthetics, obsessively working surfaces both in naked clay and glazed, without losing their basic respect for the clay body.

For additional information please contact info@cavinmorris.com or call us at 212-226-3768.

  Ashwini Bhat  Garden of Earthy Delights  , 2019 Fired clay with feldspar and natural ash 4.5 x 5.5 x 5 inches 11.4 x 14 x 12.7 cm ABh 1
  Chris Rond  Fusion 2  , 2018 Ceramic 3 x 6 x 5 inches 7.6 x 15.2 x 12.7 cm CRo 5
  Ashwini Bhat  Garden of Earthy Delights  , 2019 Fired clay with granite and mud dauber nest and natural ash 6.5 x 6 x 4 inches 16.5 x 15.2 x 10.2 cm ABh 2
  Eva Kwong  AMALI  , 2019 Stoneware, colored slips, underglazes, glazes 21.5 x 11 x 11 inches 54.6 x 27.9 x 27.9 cm EKw 1
  Ashwini Bhat  Beginning is the End  , 2019 Fired clay, with glass and garnet media and underglaze 8 x 3 x 7.5 inches 20.3 x 7.6 x 19.1 cm ABh 3
  Eva Kwong  ARIRI  , 2019 Stoneware, colored slips, underglazes, glazes 21 x 14 x 15 inches 53.3 x 35.6 x 38.1 cm EKw 2
  Ashwini Bhat  Beginning is the End  , 2019 Fired and painted clay, with glass and garnet media and glaze 7 x 7.5 x 4.5 inches 17.8 x 19.1 x 11.4 cm ABh 4
  Eugene Von Bruenchenhein  Untitled (crown)  , 1950-1980 Painted Clay 4.5 x 8 x 7 inches 11.4 x 20.3 x 17.8 cm EV 45
  Ashwini Bhat  Origin of Species  , 2019 Fired and painted clay with natural ash 22 x 12 x 7 inches 55.9 x 30.5 x 17.8 cm ABh 5
  Eugene Von Bruenchenhein  Untitled  , 1960-1980 Hand dug clay and paint 10 x 5 x 5 inches 25.4 x 12.7 x 12.7 cm EV 46
  Ashwini Bhat  Alive Series  , 2019 Fired and painted clay with glaze 6.5 x 9 x 6 inches 16.5 x 22.9 x 15.2 cm ABh 6
  Eugene Von Bruenchenhein  Untitled  , 1960-1980 Hand dug clay and paint 7 x 4.5 x 4.5 inches 17.8 x 11.4 x 11.4 cm EV 47
  Andy Nasisse  Dark Matter  , 2017 Ceramic, multi-fired with overglaze 19.75 x 21.5 x 3 inches 50.2 x 54.6 x 7.6 cm ANa 2
  Freeda Miranda  Organic 2  , 2018 Ceramic 4 x 5 x 5 inches 10.2 x 12.7 x 12.7 cm FMi 2
  Andy Nasisse  Tantra Terra  , 2017 Ceramic, multi-fired with overglaze 24 x 16 x 3 inches 61 x 40.6 x 7.6 cm ANa 4
  Freeda Miranda  Organic 1  , 2017 Ceramic 3.5 x 5.5 x 5.5 inches 8.9 x 14 x 14 cm FMi 3
  Andy Nasisse  Red Head  , 2017 Ceramic, multi-fired with overglaze 22 x 22 x 3.5 inches 55.9 x 55.9 x 8.9 cm ANa 5
  Jeff Shapiro  Shield Series  , 2012 Woodfired Ceramic 20 x 13.5 x 8 inches 50.8 x 34.3 x 20.3 cm JSh 42
  Andy Nasisse  Ear Wig  , 2016 Ceramic, multi-fired with overglaze 17 x 16 x 3 inches 43.2 x 40.6 x 7.6 cm ANa 10
  Jane Wheeler  Black Ice Flagon  , 2013 Stoneware clay with chun glaze, slab built 14.75 x 9.45 x 6.5 inches 37.5 x 24 x 16.5 cm JWh 3
  Avital Sheffer  Inannah V  , 2009 Handbuilt earthenware 26.77 x 12.99 x 7.09 inches 68 x 33 x 18 cm ASh 2
  Kirk Mangus  3 Flying Houses Ziggurat  , 1982 Stoneware, white tapies glaze (inspired by Antoni Tapies) 12.5 x 7 x 7 inches 31.8 x 17.8 x 17.8 cm KMg 1
  Chris Rond  Fusion 1  , 2018 Ceramic 5 x 3.5 x 3 inches 12.7 x 8.9 x 7.6 cm CRo 2
  Kirk Mangus  2 Skulls  , 1993 Local stoneware, paddled with artist's own carved wooden paddles, wood-fired 7 x 7 x 7 inches 17.8 x 17.8 x 17.8 cm KMg 3
  Kirk Mangus  2 Warriors  , 1993 Local stoneware, paddled with artist's own carved wooden paddles, wood-fired 8.75 x 8 x 7.5 inches 22.2 x 20.3 x 19.1 cm KMg 4
  Kirk Mangus  Aurum  , 1984 Stoneware, colored slips, salt glazed 17 x 7.5 x 7.5 inches 43.2 x 19.1 x 19.1 cm KMg 5
  Kirk Mangus  Swirling  , 1984 Stoneware, colored slips, salt glazed 15.5 x 7 x 7 inches 39.4 x 17.8 x 17.8 cm KMg 6
  Kirk Mangus  Looking  , 1982 Stoneware, gooey glaze 15 x 10.5 x 10.5 inches 38.1 x 26.7 x 26.7 cm KMg 7
  Lucien M. Koonce  Tri-Footed Hanaire  , 2017 Hand formed stoneware clay and natural ash glaze; wood fired (anagama side stoke area) for five days to c/12 8.25 x 4 x 4.5 inches 21 x 10.2 x 11.4 cm LKo 8
  Lucien M. Koonce  Hanaire  , 2018 Hand-formed stoneware clay (with native North Carolina clay) and natural ash glaze; wood fired (anagama side stoke area) for five days to c/12 9 x 4 x 4 inches 22.9 x 10.2 x 10.2 cm LKo 9
  Lesley McInally  Goodnight Noises Everywhere  , 2015 Porcelain and stoneware coil vessel 17 x 18 x 8 inches 43.2 x 45.7 x 20.3 cm LMc 1
  Melanie Ferguson  Circles In The Sand  , 2014 Handbuilt stoneware, sgraffito, flashing slips, oxide stains, celedon liner. Soda fired, heavy reduction 11 x 12.5 x 10 inches 27.9 x 31.8 x 25.4 cm MFe 25
  Melanie Ferguson  Resurrecting Fragments  , 2013 Hand built stoneware, flashing slip, kohiki slip, oxide stains, sgraffito, gas fired in soda 13 x 10.5 x 9 inches 33 x 26.7 x 22.9 cm MFe 45
  Mitch Iburg  Fond du Lac Formation 1  , 2018 Sandstone fragments, glacial clay, dolomite, limonite 9 x 19 x 12 inches 22.9 x 48.3 x 30.5 cm Mib 30
  Mike Weber  Tsubo  , 2018 Wood-fired stoneware 17 x 15 x 15 inches 43.2 x 38.1 x 38.1 cm MWe 31
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 8 x 4.5 x 4.5 inches 20.3 x 11.4 x 11.4 cm MmK 12
  Peggy Germain  Grande jarre  , 2018 Ceramic 11 x 11 x 8 inches 27.9 x 27.9 x 20.3 cm PGe 1
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 7 x 4.5 x 4.5 inches 17.8 x 11.4 x 11.4 cm MmK 13
  Peggy Germain  Petit jarre  , 2018 Ceramic 3.5 x 4.5 x 8.5 inches 8.9 x 11.4 x 21.6 cm PGe 2
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 9.5 x 4.5 x 4.5 inches 24.1 x 11.4 x 11.4 cm MmK 15
  Rebecca Buck  Wyvern VIII  , 2015 Ceramic 15.35 x 27.95 x 13.39 inches 39 x 71 x 34 cm RBk 4
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic 12 x 3.5 x 4.5 inches 30.5 x 8.9 x 11.4 cm MRu 11
  Rafa Perez  Untitled  , 2012 Porcelain and stoneware, fired at 1150 degrees 19.69 x 13.39 x 10.24 inches 50 x 34 x 26 cm RPe 25
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic with carbon trap shino 9.25 x 7 x 6 inches 23.5 x 17.8 x 15.2 cm MRu 12
  Sandy Lockwood  Subduction Series  , 2016-2019 Stoneware and inclusions 7 x 7 x 6.5 inches 17.8 x 17.8 x 16.5 cm SaL 24
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic 10 x 5 x 3.5 inches 25.4 x 12.7 x 8.9 cm MRu 14
  Sandy Lockwood  Gleaning Series  , 2016-2019 Stoneware and inclusions 12 x 12 x 3 inches 30.5 x 30.5 x 7.6 cm SaL 25
  Mike Weber  Trinity  , 2018 Wood-fired porcelain 17 x 11 x 2.5 inches 43.2 x 27.9 x 6.4 cm MWe 30
  Sandy Lockwood  Fish Box Series  , 2016-2019 Stoneware and inclusions 8.5 x 6.25 x 6 inches 21.6 x 15.9 x 15.2 cm SaL 27
  Sarah Purvey  Rhythm - Landscape Series  , 2012 Ceramic 23.62 x 16.93 x 11.42 inches 60 x 43 x 29 cm SPu 4
  Tim Rowan  Untitled  , 2019 Stoneware 8.5 x 17 x 8 inches 21.6 x 43.2 x 20.3 cm TR 165
  Tim Rowan  Untitled  , 2019 Stoneware 10 x 21 x 9 inches 25.4 x 53.3 x 22.9 cm TR 166

Saturday 05.11.19Posted by caroline casey http://www.Cavin Morris.com


Thank you Ashwini Bhat, here with Randall Morris and Shari Cavin at the Rough Stuff Private View, for the following lovely photos!

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