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Sounding Retreat - 2008
Sounding Retreat, 2008. Ceramics & mixed media installation at Washington State University, Pullman, WA.
Sounding Retreat, 2008. Upturned near the end of a 9-day residency, hand-pinched and extruded earthenware, multiple firings.
Sounding Retreat, 2008. View from underneath: hand-pinched ceramics colonizing student and staff sculptures borrowed from the WSU metals shop.
Sounding Retreat, 2008. Overhead, glazed ceramic grids move through red metal ring by Katie Hagara. Airplane by Mike Richardson, ascending.
Sounding Retreat, 2008. Crista Ames with ceramic forms; found armatures include metal waveform by Tim Doebler, technician extraordinaire.
Sounding Retreat, 2008. Detail, hand-pinched ceramics interwoven with bicycle gear sculpture by Daiken Asakawa.
Sounding Retreat, 2008. Detail, porcelain fragments and pot lids with earthenware grids and hollow stoneware tubes, hand-painted by WSU students and faculty.
Sounding Retreat, 2008. Crista Ames was a central player in the hands-on collaboration, along with over 200 staff, students and faculty from WSU and people of Pullman.
Sounding Retreat, 2008. Pullman (lentil capital of the world) is in the Palouse, a region watered by aquifers, or underground freshwater oceans.
Sounding Retreat, 2008. Some of these oceans run so deep that their depths haven't yet been measured.
Sounding Retreat, 2008. Many are being depleted by human use. Hydrogeologists are working with local communities to conserve water and to improve ground water management.
Sounding Retreat, 2008. Detail, a swell of ceramic debris including shards of pottery by Greg Payce and John Peet.
Sounding Retreat, 2008. Ungrounded, precarious ceramic forms, structurally unreliable, on rocking bottoms.
Sounding Retreat, 2008. Detail, ceramics, pyrometric cones and one taut string. Hollow stoneware tubes, hand-pinched words from journal, shards of Turkish folk pottery and deer ear/antler by Tim Berg.
Sounding Retreat, 2008. What new possibilities open up in a space of risk and uncertainty?
Sounding Retreat, 2008. In 21st century culture, what does it mean to make something by hand?
Sounding Retreat, 2008. What could it mean for a sculpture to be under threat?
Sounding Retreat, 2008. And how might that thing misbehave?
Sounding Retreat, 2008. Why tempt fate? To retreat from order, to experience surrender, to chart new depths, to invite change?
Sounding Retreat, 2008. Detail, hand-pinched, glazed earthenware scaffolding, doll by Gerit Grimm, thrift-shop porcelain cow creamer.
Sounding Retreat, 2008. How to navigate through poverty and plenty, hoarding and loss, rocks and hard places?
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