Exhibition

January 14-February 6, 2010
Cameron Crawford and Sue Whitmore
Reception WEDNESDAY January 27, 5:30–7:30p.m.
Live mandolin music by Rob Wilson

Cameron Crawford
“After the Flood” (2009, ceramic, 76" x 16" x 14")

Cameron currently enjoys working with students at California State University, Chico where he has taught since 1995. He received a BA in Fine Art from San Francisco State University and an MFA from the University of Washington. He has been an Artist-in-Residence at the Archie Bray Foundation in Montana, Watershed Center in Maine, the Banff Centre in Alberta, Canada, and the Taller Cultural in Santiago, Cuba. His work has been featured in regional, national and international exhibitions and is included in prominent public and private collections.

The work in the 1078 exhibition has been crafted to suggest odd juxtapositions of ceramic fragments with varied histories. Through binding, stacking and balancing the resulting amalgamations imply oblique functions.

 

Sue Whitmore

Sue Whitmore received her MFA from the University of Washington. She has been a member of the Art and Art History faculty at California State University, Chico since 2001 and currently holds the positions of Associate Professor and Bachelor of Fine Arts Coordinator for the Art and Art History Department. She has been actively involved in guest residencies and lectures internationally, most recently at the International Ceramic Research Center in Skaelskor Denmark. Her artwork has been included in numerous exhibitions, and public and private collections throughout the world.

She writes:
My current work continues my exploration of natural forms and insect architecture with new directions in my studio processes. Images of nature and the processes of natural science and geology provide inspiration and references for my work. My background in biological illustration triggers a perception of visual images to both the microscopic and macroscopic. Images of cellular structure as well as the growth patterns of common plants, termite tracks, wasp nests and gopher tunnels all meld together in creating abstract forms.

Recently I have been experimenting with two areas of fabrication for my ceramic work: the use of digital 3D modeling to visualize forms and create prototypes for casting and the addition of post consumer paper products and organic materials into the clay bodies to create structure, both reinforcing and creating faults or textural effects. I am fascinated by the permeations of real/virtual space conflict, materiality and veneer and where order and control are challenged by unpredictability.