Axis, 2011, ceramic, 3'x3'x3'

I am interested in how systems work and how they relate to symmetry, repetition and scale. My work is about using modules based on polygon forms to form a whole.  The design on each module contributes to pattern of the entire piece. Using this method, I work with the mandala and the grid to express ideas about sacred space.

Dual, 2011, ceramic, 4" x 44" x 48"

Two concepts have been consistent within my practice: the translation of the two dimensional into the three dimensional, by stretching a pattern over a three dimensional object or by creating individual two dimensional objects that project into space; and how structure implies content, by using tessellating forms which imply infinite repetition and revolution around a central axis, both ideas associated with the notion of the divine and the universal.  

Brocade, detail, 2011, ceramic, 3" x 40" x 109"

My practice is based in slipcasting and moldmaking. In the beginning, I was learning the technical and visual effects of creating a large scale project. I created Cathedral, a body of work that was based on the cathedral dome or rose window in the Gothic church.  For this project, I superimposed a pattern over a grid and cast individual pieces which were glazed and fired.  The viewer was drawn to the piece from far away and as they drew closer, the undulation and subtleties of the piece were revealed.  By using height, color and size, I created an environment which referenced sacred space.

Wreath #2, detail, dia.22" h.5"

About:

Eliza Au received her BFA from the Nova Scotia College of Art and Design (2005) and her MFA from the New York State College of Ceramics at Alfred University (2009). Au’s work is ceramic based and centers around the process of slipcasting.  She is interested in how sacred space is transformed by the use of pattern and geometry in Gothic and Islamic architecture.  She is interested in how systems work and how they relate to symmetry, repetition and scale.  In recent work, she is expanding into other materials, including paper, metal, glass and wax.

She has previously completed residencies with Greenwich House Pottery (NYC, NY), The Museum of Contemporary Craft (Portland, OR), The Pilchuck Glass School (Stanwood, WA) and the Corning Museum of Glass (Corning, NY).  Recent exhibitions include the 66th Scripps Ceramic Annual at Scripps College and The RBC Emerging Artist People’s Choice Award at the Gardiner Museum in Toronto, ON.

SOURCE: http://elizaau.wordpress.com/

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Tags: Au, Eliza, Sacred, Slipcasting, crafthaus

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A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

Arriving at this message is the goal of this traveling exhibition opening at the SNAG conference in Boston 2015, Velvet da Vinci, San Francisco, CA - Aug 19 - Sept 20, 2015, Equinox Gallery, San Antonio, TX - Oct 16 - Nov 15, 2015, Baltimore Jewelry Center, Baltimore, MD - Dec 11, 2015 - Jan 08, 2016, Brooklyn Metal Works, Brooklyn, NY - Feb 5 - Mar 4, 2016, Thomas Mann's Gallery I/O April 1 - June 25, 2016.

DETAILS on exhibition premise, call for artists, submission guidelines.....

OFF TO THE RACES:

Rachel and Brigitte got started on their own cooperation. Follow along and comment.

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