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- 20 - 29
Jason Jacques Gallery, in collaboration with the Elizabeth Dee Gallery, announces Joel Otterson: The Excited Eye, an exhibition of the self-titled ceramiphile Joel Otterson. The artist will present a curated selection of sculptures that draw inspiration from aspects of domestic handicraft and traditional materials. Otterson’s interest in the Gesamkunstwerk or total work of art, keeps his works in conversation with one another and their environments. The Excited Eye will open with a reception with the artist, at 29 East 73rd Street, on May 1st, 6:00-8:00pm, and remain on view through June 16th.
Copper pipe, pottery and glass, cast metal, and lace are the raw materials that often constitute Otterson’s work. The artist blurs the line between the seemingly disparate spheres of learned and vernacular culture, art, and craft to create poignant sculptures that are both utilitarian sculptural objects. His current thought process has led to an investigation of classical Greek vessels whose forms he considers sublime. Otterson, in his own words, is “fascinated that these forms and their genetics have been spread throughout the history of the world.” Through his art, he places himself into this historical progression.
Otterson’s use of varied mediums and processes has grown out of his interest in the development of domestic landscape, and everything in relationship to human beings. His deconstructivist approach helps him to apprehend the nature of the material and visual culture that follows human living. “The vessel is gone,” he muses, “and only the decoration is left.”
Artist:
Joel Otterson is a self-titled Self-titled ceramiphile with an interest in the Gesamkunstwerk, or total work of art, keeps his works in conversation with both one another and their environments, and denotes the importance his works’ nature as installations.
Copper pipe, woodworking, pottery, cast metal, concrete, stained glass, quilting, needlework, and lacemaking are the raw materials that often constitute his work. The artist blurs the line between the seemingly disparate spheres of learned and vernacular culture, art and craft to create poignant sculptures, which are both utilitarian and de-constructivist sculptural objects. His current thought process has led to an investigation of classical Greek vessels, whose forms he considers “sublime.” Otterson, in his own words, is “fascinated that these forms and their genetics have been spread throughout the history of the world,” and through his art places himself into this historical progression.
The use of a variety of mediums and skills has grown out of interest in the development of “domestic landscape” and everything in relationship to human beings. His deconstructivist approach helps him to apprehend the nature of the material and visual culture that follows human living. “The vessel is gone,” muses Otterson, “and only the decoration is left.”
29 East 73rd Street, New York NY
