Ceramics from 2000 to 2008

 

“TEA LADIES AND THEIR CONSORTS:  Taming of the Wild Beasts” 2004 ©  stoneware, tallest figure with uplifted arms 29”h, center right, installation 2005 at the dA Center for the Arts, Pomona, CA


These figures represent the quelling of the predator instinct.


Left:  “Fall of the Inner Tower” 2001

porcelain, stoneware, 13”h, 2 views


        Right:  “Rise of the Inner Tower” 2001    

        porcelain, acrylic, 6”h, 2 views

“FALL AND RISE OF THE INNER TOWERS:  Disaster and  Attempt to Heal”

The slab building process allows for bits and pieces to be reconstructed.  The upper part of the “Fall”, left, represents search missiles for inquiry, rising above the lightweight fortress structures just below.  This sculpture leans over an open triangle and a tilted earth form.  “Payback” is inscribed on the side.

The Tower of many colors, right, uses basic design principles in an effort to rebuild destruction.

(left)

“GIVING AND RECEIVING I & II:  Communication Towers” 2002, porcelain, 11”h  & 6”h, high and low fire glazes.

These tower trees grow from the observation of cell phone transmitter towers decorated to look like trees.  How much “hot air” (puffed and ruffled slab construction) is collected by these trees to inform one another in this world?  How grounded are they and how much black, white, and gray information is exchanged?

(left) “VIEW FROM THE MOTHER LODE”, 2002-04©,

porcelain, acrylic, 14”h


Made during the same time period as “Alignment” (above), these sculptures revere the catch basin of Earth and its uplifting forms.  Heart shapes grew surprisingly through the center.

Having returned to Yoga practice for a few years, these structures are deeply influenced by reverence for the Earth, and the alignment of muscles, bones, breath and air for the body and soul.


(below rt.) “EARTH’S TRUMPET” 2002-04, porcelain, acrylic, 22”h


This figure chants reverence for the Sun.  The body radiates sound as seen  in the opening floral form on its “earth skirt”.  The tripod form continues in this sculpture as a basis for strength.

(above  left)

“ROCKY MOUNTAIN CLIMB” 2000©, porcelain, stoneware, 18”h

This is a reconstruction piece.  The chosen way to work with a firm 25 lb. bag of clay is to cut it with a wire into rock like sections.  The cut chunks are then paddled into “rock-like” forms, then melded together, a balancing act in itself.  The arch  represents its strength. 

From “Social Comment“ to “Structures of Spirituality”:


TREE OF LIFE I & II”, 2005

“You’ll find Cucamonga on your way from Hollywood to Palm Springs on Route 66 and the 10 Freeway.”

This suggests a connection to “Stardom”.

However, this ceramic sculpture adventure, “Fiddling with the Star Shape” is a gentle reminder of the ubiquity of the star as it defines local and world cultural achievements.


These interpretations show fantasy, as in the two Star Ships above.  The wall piece to the right signifies the birth right of the stars to produce many qualities of us as Beings.  The center “mask”, one open,

the other behind in dark formation, are secured by a woven cord:   


        “We are made from Stardust”

“STAR SERIES:  LIVING EAST OF HOLLYWOOD“,

continuing with “Social Comment”

            

Fascination with the Sephirothic Tree in ancient Judaic text, its pillars of Judgement, Balance, Mercy and the positions of Intellect, Imagination, Matter, influences the building of the Trees to the left.  The lattice structure resembles the chart of three vertical posts, three pairs of lateral bars, and seven points of radiation. (1)

The faces from my press molds, (from the faces of the “Tea Ladies” and “Yoga Tea Pots”) are added to the tree’s structural lattice.  The stark white geometry represents the ideal of representing “light” with the “seed” and “roots” of the Cosmos.


The “Inverted Tree”, seen in ancient Hindu and other symbolic spiritual representations, has its roots to the Sky, and its branches to the Earth.

The Banyan tree with its roots coming from above influence this concept.


The “Inner Eye” and the “Primordial Point” have similar origins in an attempt to define the spiritual known and unknown.



  1. (1)Cook, Roger, “The Tree of Life, Images for the Cosmos”, Avon Books, division of the Hearst Corporation, NYC,1974  Library of Congress Catalog Card Number:  74-83101

photography by Dennis Tannen, Andrée M Mahoney, and  Kristian Ranker



Copyright   2008    Andrée Mendenhall Mahoney       All rights reserved

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CERAMICS from 2000 to 2008

 
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