Viewing all content in Ceramic
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Jamón Jamón I (Reliquary Generalife)
2019, Porcelain, silkscreen engobe, oil, 13 x 6.5 x 7 inches
Unmonumental Foot
Ceramic, black iron stain on un-glazed stoneware, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Disobedience I
Ceramic, Wood, Paper, String, Enamel, Variable installation and dimensions 36 x 48 x 28”, 2011
Trophy I
Majolica glazed ceramic, 7 3/8 x 4 1/8 x 2 15/16", 2011
Volcano Lover Momento
Majolica glazed ceramic, 13 3/4 x 5 x 6", 2011
Felix (Fascist)
2019 Photograph enamel on metal, ceramic, gold, wood, lacquer 70 x 38 x 12 inches Many of my projects include a parallel process that I use to generate ideas, images and narratives that help me make sense of how I make work. In this case I use character studies or personae which I name and imagine their motivations and desires. I use a persona like Felix (Latin for Lucky) as a means of generating images and language that then intuitively evolve in my drawings, prints, and other works. The persona, in effect becomes a faceted mirror of the world, that I make artifacts and images about and for.
Offering VI
2019 Ceramic, mixed media 10 x 20 x 9.5 inches This is a detail view of Offering VI, a ceramic sculptural collection of modeled, slip cast and three-dimensionally printed stoneware and porcelain forms presented in a glazed crucible. Sculptures like this play an important role as ritual forms and may be juxtaposed in relation to images of personae or related artifacts. Culturally I grew up with a type of ancestor worship that seems in retrospect, somewhat peculiar in the larger context of the United States. Offerings and various traditions of reverence interest me and at times inform work that I create.
Study for Pasquino
Tin glaze over stoneware bust with silkscreen print on paper and acrylic medium 2018 10 x 5 x 3.5 inches This is a study for a developing series of sculptures inspired by the Talking Sculptures of Rome. Printed images on paper, fabric or glaze transferware are wrapped and pasted over the surface of ceramic forms; in this case a figurative form of a bust after the ancient Roman statue nick-named “Pasquino.”
Reliquary II (Flores Jamon)
Ceramic, slip cast, underglaze inlay and transfer-ware print on unglazed stoneware 2016 16 x 8 x 6.5 inches The form of a ham leg which appears in my prints and many of my drawings fascinated me after traveling in Spain where I encountered the Jamon Iberico. At the time I was reading an essay by Christopher Hitchens titled “Why Heaven Hates Ham,” detailing the prohibitions and customs about charcuterie. In the essay he suggests that pieces of pig offered to guests in Spain emerges out of a tradition from the Spanish Inquisition, and was a means of rooting out non-Christians, or disingenuous converts. Peculiar histories fascinate me and often find their way into my visual language.
Last Breath (installation)
Blown glass, silkscreened glass enamel print on sand-blasted and rolled clear and white glass, tin-glazed ceramic, cork, air from my mother’s deathbed 2014-2016 38 x 16 x 16 inches My mother was dying of stage four lung cancer. I made this work while my siblings and I took care of her in her last year. She encouraged my creative eccentricities and we made art together in the last few months of her life. This was the last work I did with her, her last breath, captured within this blown glass tear-drop. The enamel glass image is from an ongoing exploration of the faces of Mahākāla, a Hindu protector deity.
Abraham (Anarcho-syndicalist) with an installation of Offering VI
2019 Photograph on paper, ceramic, mixed media 50.5 x 33.5 inches As with the previous work, this persona titled Abraham (Hebrew for Multitude) was created as a contrast to Felix. In this persona as with the others, costumes were created and models were photographed, characters were imagined and work, specifically animations, prints and sculptural offering artifacts were created, exploring ritual, form and language.
Jamón Jamón VI (Language of Flowers)
2019, Slipcast ceramic, glazed, pit fired 16 x 7 x 7 inches
Jamón Jamón VI (Language of Flowers)
2019, Slipcast ceramic, glazed, pit fired 16 x 7 x 7 inches
Jamón Jamón VI (Language of Flowers)
2019, Slipcast ceramic, glazed, pit fired 16 x 7 x 7 inches
Jamón Jamón IV (Newark)
Glazed ceramic, rubber, charcoal, graphite, acrylic, silkscreen prints on paper, metal, magnets 24 x 10 x 12 inches, 2019, by Andrew Cornell Robinson
Jamón Jamón II (Reliquary Loisada)
2019, Slipcast ceramic, enlay and silkscreened underglaze transfer with glazed interior 16 x 7 x 7 inches.