#SC1003 | Materials List
In paperclay, the cellulose fibers of the paper act like a tubular net that supplies water and air to clay particles—allowing lighter, and larger scale sculptures to be made. In this course, students will design sculptures and experiment with paperclay using it as both a fired and nonfired material. Making sculptures with an 80:20 and then a 30:70 ratio of paperclay mixture will demonstrate the range of possibilities with this medium. Student’s work will touch on current concepts of ceramic art and global culture, while providing technical skills to help develop and achieve students’ own ideas.
Carmen Lang has a BFA from La Esmeralda in Mexico City, where she also was a professor of ceramics and crawing. She has an MFA from California College of the Arts. Lang has been awarded several artist residencies in Canada, at The Banff Centre and the University of Manitoba, and in Mexico at Uriarte Talavera. She learned hot glass at Penland School of Crafts, and Metal Arts at Sierra College. She will be an invited artist at the symposium Figurative Association: The Human Form in Clay at Arrowmont School of Arts and Crafts in 2014. She participates in international shows with ceramic sculptures, paintings, and installations.
Making Optimistic Objects
#SC1014 | Materials List
How do our cultures and communities determine what we use and how we use it? In this sculpture course, existing found objects—commodities or devices—will be changed by fabrication techniques into something greater than suggested by their initial forms. The alteration of these objects will occur through a process that intertwines conceptual and material design in a nonlinear approach. These will become one-of-a-kind art objects that tell a story about each student's specific culture or background. Students will learn basic fabrication techniques for modification of found objects and their subsequent finishing process. By taking existing objects and re-appropriating them from a personal perspective, participants will gain insight into the relationship between objects and cultural context. The resulting works will present an optimistic re-envisioning of what objects may look like in the service of each student’s culture and community.
Michal Wisniowski received his MFA from the San Francisco Art Institute in 2013, and his BFA in Fine Art and Philosophy from Rocky Mountain College in 2003. Wisniowski’s work revolves around brutalist architectural motifs in mixed-media paintings, sculptures of found domestic objects, and temporary, large-scale installations that combine painted and sculpted modes of representation. As a Polish artist whose formative years were divided between then-communist Poland, refugee camps in Denmark, and a racially hostile, post-unification Germany, the intricacies of memory and trauma are an integral aspect of Wisniowski’s practice. His works function as processors of memory and trauma in order to explore nostalgia as a productive survival strategy.