The ceramic sculptures of Hitomi Murakami tether humanity to nature in a way that appears both elegant and chilling. Her figures grow from vegetation and are consumed by it, exposed and writhing. Works such as “Land of Root,” in contrast, seem more connected to wonder.
Allison Schulnik’s textured paintings move between stirring and ominous scenes and more surreal characters. The denseness of her process gives her paintings a sculptural quality. Study of each work reveals several layers and intrigue.
Mary O’Malley‘s recent ceramic work appears as a dining set salvaged from wreckage scattered along the seafloor. In her current show at Arch Enemy Arts, “A Seat at the Table,” her work is presented as a full-room installation in which a dining service is set. At the artist’s hands, porcelain, glaze, and gold become a convincing display of the organic overtaking high-class artifacts.
William Kidd‘s ceramic sculptures imagine lifeforms that don’t exist in our world. The artist attributes the particularly organic appearance of his pieces to “the choice of a low-fire red earthenware clay which is then finished using oxide stains, underglazes, and my signature crawl glaze.” He says that those materials allow the richness and natural vibrancy of his work to shine.
Wesley Wright’s ceramic sculptures explore our relationship to the natural world, in both its corruption and beauty. In his “Primates” series, in specific, the artist’s talents knack for surprising details in the contours of his subjects shines. The artist, based in Northern California, works primarily in stoneware clay.
Sunkoo Yuh’s clusters of ceramic figures traverse different cultures and topics. His vibrant arrangements of characters range from desk-sized pieces to towering creations. Packed in the pieces are ancient icons, occasional religious figures, and more, sometimes reacting to each other within one set.