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Cross MacKenzie Gallery

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Cross MacKenzie Gallery

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Coffee - October 2006

October 20th - November 15th, 2006

Featuring the geometric sculptures by Zach Duncan-Tessmer created from ceramic shards and stacked coffee mugs along and his whimsical multi spouted coffee pots and confounding cups with intertwined handles.  Duncan-Tessmer uses the language of the functional pottery genre to create sculptures, which reflect the inherent fragility and impermanence of all ceramics, and breaks the mold of our expectations about the form and function of our household crockery.

The tea pots of the acclaimed artists Ray Bub & Fong Choo demonstrate the fine line between “craft” and “art” and though technically functional pottery, the beauty and inventiveness of the objects puts them in a category all their own. At the opening, we’ll sip expresso from Martina Lantin’s expressive cups.

Michelle Erickson’s exquisite narrative sculptures make reference to historical ceramics and their social and political significance. Sunken artifacts from Chinese junk shipwrecks inspire her stacked collages of blue and white porcelain pieces growing barnacles and oysters. Erickson’s work suggests a symbiotic relationship between nature and man in the creation of these assemblages which she makes using the porcelain techniques of the 17thcentury. 

Coffee - October 2006

October 20th - November 15th, 2006

Featuring the geometric sculptures by Zach Duncan-Tessmer created from ceramic shards and stacked coffee mugs along and his whimsical multi spouted coffee pots and confounding cups with intertwined handles.  Duncan-Tessmer uses the language of the functional pottery genre to create sculptures, which reflect the inherent fragility and impermanence of all ceramics, and breaks the mold of our expectations about the form and function of our household crockery.

The tea pots of the acclaimed artists Ray Bub & Fong Choo demonstrate the fine line between “craft” and “art” and though technically functional pottery, the beauty and inventiveness of the objects puts them in a category all their own. At the opening, we’ll sip expresso from Martina Lantin’s expressive cups.

Michelle Erickson’s exquisite narrative sculptures make reference to historical ceramics and their social and political significance. Sunken artifacts from Chinese junk shipwrecks inspire her stacked collages of blue and white porcelain pieces growing barnacles and oysters. Erickson’s work suggests a symbiotic relationship between nature and man in the creation of these assemblages which she makes using the porcelain techniques of the 17thcentury. 

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Read the Reviews:

https://www.washingtonpost.com/arts-entertainment/2022/09/29/american-university-museum-more-clay/

https://ceramicartsnetwork.org/ceramics-monthly/ceramics-monthly-article/more-clay-the-power-of-repetition

https://ceramicartsnetwork.org/ceramics-monthly/ceramics-monthly-article/exposure-november-2022

https://georgetowner.com/articles/2022/09/14/fall-arts-preview-visual-arts-3/