12 de julho de 2011
In her finely-detailed porcelain sculptures and tableaux, Oregon artist Chris Antemann pays homage to the lustered 18th century studio porcelains of Meissen and the spill creations of Staffordshire, among others. Her Rococo detail is painstaking, complex, and certainly authentic in its lacework "feel", yet her work has a modern interpretation. Her pastoral scenes, tabletop vignettes, and winsome figurals are fraught with irony, suggestion, and naught. Scrutiny reveals both gallant and sexually charged motifs with androgynous characters engaged in bawdy romps and playful smirks ... all in a latter day eroticism in which men and women are of equal footing.
Antemann has an MFA in Ceramics from the University of Minnesota and a BFA in Ceramics & Painting from Indiana University of Pennsylvania. Her artist residencies include those of the Archie Bray Foundation; the Jingdezhen Sanbao Ceramic Art Institute, Jingdezhen, China, sponsored by the American Craft Council’s Emerging Artist Grant; the Watershed Center for the Ceramic Arts in Maine, and the Art/Industry Program at the John Michael Kohler Factory in Sheboygan, Wisconsin. She was awarded last year's Virginia A. Groot Grant, awarded to artists working in multi-dimensional media.
Her sculptures can be found in numerous private and public collections, including the Museum of Art & Design, The KAMM Teapot Foundation, and the Foshan Ceramic Museum in China. Antemann is represented by the Ferrin Gallery of Pittsfield, Mass., and the Art Spirit Gallery of Coeur d'Alene, Idaho.
Of course, any Marklewood visitor can easily anticipate my swoon upon certain discovery of Antemann's portfolio of spirited sculptures. I am a collector of both mammoth proportions and unmanageable aesthetics: Majolica and parian tobacciana, nostalgic Roseville home décor, and two curio cabinets that teem with Victorian figural grotesques. Would anyone ever doubt my delight in such hand-crafted, tongue-in-cheek renderings that honor both the grand Meissen mise-en-scène and Staffordshire elegance? Of course in their heyday, that most noble and earlier china was indeed the team effort of studio artisans.
"As ornaments, collectible objects of wealth, and artifacts of the domestic realm, decorative figurines conceal secrets about individual lives."