27th Annual California Conference for the Advancement of Ceramic Art
CCACA, the California Conference for the Advancement of Ceramic Art, celebrates its 27th year, presented by the John Natsoulas Center for the Arts (521 First Street, Davis, CA) The conference takes place May 1-May 3, 2015.
The annual Ceramics Festival, hosted by the John Natsoulas Center for the Arts, enters into its 27th year and continues to bring the leading national and international ceramic artists to the Sacramento Valley for a weekend of creative instruction and collaboration. This year's conference will feature captivating lectures and hands-on demonstrations, participants will include Patti Warashina, Irina Zayctevea, Richard White, Chris Antemann, Beverly Mayeri, Shalene Valenzuela, Esther Shimazu and many more.
Artists and art lovers can interact with top artists in a way not possible at other venues. CCACA will be a weekend of demonstrations, lectures, and art shows. There is no other event that delivers more inspired knowledge of ceramic sculpture for a better price.
CCACA runs in conjunction with the annual 30 Ceramic Artists exhibition, from April 15 to May 16, 2015
Special weekend showings will open Friday, May 1st and will run through Sunday, May 3rd include free exhibitions of ceramic work by art students from 40 colleges and universities, as well as exhibitions of ceramic work by well-known local artists at ten other Davis locations. Free shuttle service will be provided to all exhibitions.
For schedule information or to register for the conference, please go to the CCACA website at http://www.natsoulas.com
Patti Warashina is a key West Coast figure in the transformation of ceramics from mere pottery to extravagantly imagined sculpture over the past 50 years. Her work has been collected by the Museum of Arts and Design (New York), National Museum of Modern Art (Kyoto) and Smithsonian American Art Museum (Washington, D.C.), along with every major museum in our region. The youngest of three children, Warashina was born and raised in Spokane, Washington. She received her bachelors degree and M.F.A from the University of Washington, Seattle, where she studied with sculptors Robert Sperry, Harold Myers, Rudy Autio, Shoji Hamada, Shinsaku Hamada, and Ruth Penington. Warashina’s work is often humorous, and includes “clay figures placed in imagined environments that show her subversive thinking.” She uses sculpture to explore such themes as the human condition, feminism, car-culture, and political and social topics.
Irina was born in Moscow, Russia in 1957. She has advanced degrees in book illustration from the prestigious Moscow Art Institute. Having illustrated a number of children’s books, Irina found that her love for sculpting offered a wider range of expressing her artistic views. Porcelain had a particular attraction because of its historical importance, as well as for the finer grain this material offered as opposed to other ceramics. She developed several unique techniques that had never been used before, resulting in few limitations to her creativity. All of her works are created using high-fire porcelain, over-glaze as well as under-glaze colors, and 18K or 24K gold luster.
Irina begins creating a sculpture without knowing how the story ends. She rarely does a sketch for a piece beforehand. Her initial goal is to create an intriguing shape. When the object is completed, Irina determines what the shape suggests in terms of colors, spaces, painting, and gold luster. Her creative process is always an improvisation.
Richard White is an artist. He specializes in clay — a ceramist — but he also draws, creates with wood, concrete, metal, found objects.
He heads the ceramics department at Saddleback College in Mission Viejo. He’s a teacher, but he’s never stopped being a studio artist. He’s had hundreds of exhibits all over the United States and the world.
“The creative process is a mysterious process. Most important is to be present when something inspiring hits. You have to be aware. The doing the art is the payoff. For the last 40 years I’ve been trying to follow a non-verbal intuition with my art. I’ve found all the things I don’t want to do; I’m narrowing it down, finding out the things I do want to do.”
“I do some kind of art almost every day, he continued. I keep my hands going, the juices flowing, it’s how I stay vital. I like to do things where I don’t have a goal. I just want to let loose. The minute you’re conscious that it’s for a show, or to make money, it gets subverted. The act of art is a gift to yourself, to do something excellently in life. It’s a gift to those who might also appreciate it. Once you turn art into a commodity, it sucks the life out of it. I could make more money, but I wouldn’t love the art the way I do.”
Chris Antemann . Chris earned her M.F.A. in ceramics from the University of Minnesota and her B.F.A. in ceramics & painting from Indiana University of Pennsylvania. She has exhibited extensively in the United States and China. Her work can be found in many private and public collections, including the Museum of Arts and Design, The 21 C. Hotel Museum, The KAMM Teapot Foundation, The Archie Bray Foundation, and the Foshan Ceramic Museum in China. Her artist residencies include The Archie Bray Foundation and The John Michael Kohler Arts Center, where she was the NEA funded resident. IN 2010 she was the First Place Winner of the Virginia A. Groot Grant, a prestigious grant awarded to artists working in 3D to allow them time to further their work. Chris is currently working on a full room installation titled, Forbidden Fruit: A Porcelain Paradise in collaboration with the Meissen Porcelain Manufactory in Germany. Spanning the better parts of two years, the installation is set to debut at the Museum of Art Meissen in the fall of 2013.
Beverly Mayeri’s figures “evoke a richly complicated human presence.” Her sculptures often “bridge the psychological, the political and the sensuous within one hybrid form.” Beverly Mayeri is a studio artist living in the Bay Area. She earned a BA from the University of California, Berkeley, and an MA in sculpture at San Francisco State University. Her work has been shown extensively in numerous museums and galleries, and is included in many public and private collections. She has received 2 NEA grants, and a Virginia Groot grant, and has lectured and taught many workshops throughout the United States.
Shalene Valenzuela was born in Santa Barbara, California. She received a BA in Art Practice at the University of California at Berkeley and an MFA in Ceramics from California College of Arts and Crafts. In 2007, she moved from her longtime home of Oakland, CA to participate in a long-term residency at The Clay Studio of Missoula. She currently maintains a studio in the historic Brunswick Building in downtown Missoula and is the executive director at the Clay Studio of Missoula.
Additionally, has participated in summer artist residencies at the Archie Bray Foundation (2006) and Watershed Center for the Ceramic Arts (2004, 2011). She has taught at Flathead Valley Community College, University of Montana, Oregon College of Art and Craft, The Clay Studio of Missoula, Missoula Art Museum, Richmond Art Center, ASUC Studios at UC Berkeley, and CCA Extended Education. Shalene has been a guest artist and speaker at a number of art centers, colleges, and universities. Her work has been featured in several group and solo exhibitions nationally and is included in numerous private collections. She recently received an Artist’s Innovation Award from the Montana Arts Council, and was featured in the Ferrin Contemporary Top 40 Exhibition.
Esther Shimazu is the granddaughter of Japanese immigrant laborers and was born and raised in suburban Honolulu, Hawaii in a large, close-knit family. She attended public schools and the University of Hawaii/Manoa near her home before transferring to the University of Massachusetts/Amherst to obtain her Bachelor of Fine Art in 1980 and a Master of Fine Art in 1982. Over the years, she has established herself as one of Hawaii’s best-known artists. Clay and a figurative approach have been present in her life from very early on into college, where her current style first came together. In her work, she strives to bring together her lifelong love of clay and the figure, using traditional vessel-making techniques to make what amount to animated pots. Each stoneware sculpture is constructed body part by body part and assembled from individual toenails and teeth on to form a continuously hollow, lightweight but sturdy one-of-a-kind piece. Each is obsessively worked over, smoothed, accented with slips and oxides, bisque-fired, hand-sanded, colored further with rubbed-in oxides and more touches of color and a final airbrushing of oxides. Firing is to cone 5-6 oxidation and there is one last sanding, the better to touch. Most of the imagery is of bald, nude chunky Asian women, unconcerned about clothing and hairdo, comfortable in their own skins. There is the occasional male figure or companion animal. All invite the viewer to play, but underneath, there’s a hint that they might bite.
John Natosulas Center for the Arts
521 First Street, Davis , CA 95618