W. Keith & Janet Kellogg University Art Gallery

Ink & Clay 44

Ink & Clay 44

Aug 22, 2019 to Nov 21, 2019

Location: Kellogg University Art Gallery

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The W. Keith and Janet Kellogg Art Gallery. Ink & Clay 44. A National Competition. Thursday, August 22 to Thursday, November 21, 2019
Established in 1971, Ink & Clay is an annual juried competition of printmaking, ink drawing, ceramic ware, clay sculpture, mixed media and installation, utilizing any variety of “ink” or “clay” (or combination) as material. The competition results in its highly-regarded exhibition sponsored by the W. Keith & Janet Kellogg University Art Gallery of CalPoly University, Pomona and underwritten by the generosity and support of the late Col. James Jones, Mr. Bruce Jewett, and Office of the University President.

Starting in 2012, the Ink & Clay competition was opened to artists working throughout the US, making it a national competition. The exhibition is documented through an on-line printable catalog. Unique among juried exhibitions, Ink & Clay is annually celebrated and recognized by artists and collectors for its quality and diversity.

I&C 44 | Exhibition Main Page   >

Photographs of installation of Ink & Clay 44, Maintaining a Tenuous Construct by Brian Christensen, Invasive and Unsustainable Ashtray Series by Sierra Slentz, Folie à Deux by Lisa Crane, The Paper by Lucas Novak, Perspective by CJ Jilek 

Image: Photographs of installation of Ink & Clay 44, Maintaining a Tenuous Construct by Brian Christensen, Invasive and Unsustainable Ashtray Series by Sierra Slentz, Folie à Deux by Lisa Crane, The Paper by Lucas Novak, Perspective by CJ Jilek 

 

 

Ink & Clay 44 Opening Reception

Saturday, September 7, 2019 - 2:00 pm to 5:00 pm

Ink & Clay 44 Exhibition Opening Reception Saturday, Sept 7th

Please join us during the opening reception on Saturday, January 25, from 2pm to 5pm! There will also be artist remarks at 3:30pm during the reception.

 


Ink & Clay 44 Title WallThursday, August 22, 2019, 4:00 pm

Ink & Clay 44 Exhibition Opening Aug. 27

Established in 1971, Ink & Clay is an annual competition of printmaking, drawing, ceramic ware, clay sculpture, installation and mixed media utilizing any variety of “ink” or “clay” as a material.  

 

 


 

 

Ink & Clay Jurors

Two of this year’s esteemed jurors are arts professionals specialized in ceramics (clay), and printmaking/drawing (ink), respectively. The third juror, is a renowned curator, or curatorial expert, from within the arts or museums industry.


Printmaking/Ink Juror, Kimiko Miyoshi

Kimik Miyoshi’s printmaking experience began as a collaborative silkscreen printer in Japan. After receiving her MFA in Printmaking from the University of New Mexico, Albuquerque, NM, she built scientific exhibitions for Explora Science Center, a children’s science museum, in Albuquerque, NM. The work had a great effect on her creative practice and observational habit.

Miyoshi’s recent solo exhibitions include Connecting the Dots, Angles Ink (San Pedro), Merge, Mira Costa College (two persons, Oceanside), Works on Paper at Stonerose Gallery (Long Beach), Layered, Project 643 (two persons, Ventura), Serial Possibilities, La Sierra University (Riverside), and Pull Together, Southern Oregon University (Ashland, OR).

She has participated in group exhibitions such as Print is Dead, Dakota Gallery, (Bellingham, WA), Air Water and Earth, Muckenthaler Cultural Center (Fullerton), Printmaker’s Hand IV, Northwind Arts Center (Port Townsend, WA), Breaking Illusions: Artist as Scientist, CGU (Claremont), Pacific State Biennial North American Printmaking Exhibition, Univ. of Hawai’I at Hilo, Five Woman Printmakers, JACCC (Los Angeles, CA), Currency, Turner National Print Competition (Chico, CA), Invisible Systems, Manhattan Beach Art Center, Print Ed, Limerick School of Art and Design (Ireland), Past, Present, Future, Silpakorn University (Thailand), and Mass Emergence, Angels Gate (San Pedro).  Miyoshi teaches printmaking at CSU, Long Beach.


Ceramics/Clay Juror, Susan Elizalde-Henson

Susan Elizalde-Henson was born and raised in Southern California. She received a BA in Art History, a MA in Art, and a MFA in Art, with an emphasis in ceramics, from California State University, Fullerton. Graduate study also included coursework at the New York College of Ceramics at Alfred University in New York.

Elizalde-Henson has been Artist-in-Residence at the Watershed Center for Ceramic Art in Maine and the International Museum of Ceramic Art in Denmark. She has served on artist selection panels for the City of Los Angeles, Cultural Affairs Department, Public Art Projects and has served on the Board of the Southern California Women’s Caucus for Art.

Her work has been exhibited both nationally and internationally, and has been published in several books and periodicals including: Contemporary Chicana and Chicano Art; Triumph of our Communities: Four Decades of Mexican American Art; Chicano Art for Our Millennium; and Puro Muerto: Contemporary Images of Day of the Dead. She is currently Associate Faculty at Saddleback College Emeritus Institute, and Facilitator for Art and Creativity for Healing, Laguna Hills, CA.


Curatorial Juror, Juri Koll

As Founder and Director of the Venice Institute of Contemporary Art (ViCA) since 2011, Juri Koll curates and presents traveling exhibits at museums in the U.S. and abroad, such art the Chabot Museum in Rotterdam, Netherlands and the Wilhelm Morgner Haus Museum in Germany, and the Long Beach Museum of Art, the Torrance Art Museum, and the Museum of Art and History in California. He is the Director of the Fine Arts Film Festival, which features films on the art world from across the globe and is in its 6th year.

Juri Koll was born in San Francisco in 1961. He actively sought out important artists as part of his studies and began exhibiting his work at an early age. After classical studies at UC San Diego, he received his BFA from California Institute of the Arts in 1984. Juri’s has exhibited at Photo LA, Cameravision, Muzeumm, Temporary Space LA, LA Louver, California Institute of the Arts, UC, San Diego, the Xenodrome in San Francisco, the Mike Kelley Gallery at Beyond Baroque Literary Art Center, Art Share LA, the Gabba Gallery, the Porch Gallery, the Torrance Art Museum and the Museum of Art and History in Lancaster, California among others.

He has written about art for the New York Times, the Huff Post and other publications. Articles on his work have appeared in the LA Times, and the Huff Post as well as others. He has taught buon fresco at the J. Paul Getty Villa, and has taught art at Brooks College and film at the Academy of Art University in San Francisco. He is a member of the Directors Guild of America. He has produced notable art world documentaries and worked with major museums and galleries, such as the Metropolitan Museum of Art, The National Gallery in Washington, D.C., the Los Angeles County Museum of Art, and the Museum of Modern Art in San Francisco. His work appears in universities, galleries and museum collections including the Archives of American Art at the Smithsonian Institution in Washington, DC, The University of New Mexico Art Museum, Brown University, College of DuPage Library, Corvallis Public Library, McAlester College, and Trinity University. He is an Advisory Board member of Beyond Baroque Literary Arts Center and has lived and worked in Venice for thirty-five years and in 2018 opened the Institute’s first permanent galleries.

Ink & Clay 44 Participating Artists

Ink & Clay 44 Participating Artists

teral DamagePascual Arriaga, Colla: Sailor, Soldier, Marine, 2017. Porcelain slip sast ceramic, cone 05, ammon cans. 31 x 34 x 20". Courtesy of the artist. Three gray shirts placed over ammunition boxes

Pascual Arriaga

Collateral Damage: Sailor, Soldier, Marine
David Avery, Das Narrenschiff, 2018. Hard-ground etching. 14.25 x 7.5" Courtesy of the artist. An etching of a boat in the ocean with a big fish swimming underwater.

David Avery

Das Narrenschiff
David Avery, Mendacia Ridicula (The Wheel of Ixion), 2018. Hard-ground etching. 6 x 6" Courtesy of the artist. An etching of a person falling throught the air.

David Avery

Mendacia Ridicula (The Wheel of Ixion)
Peter Baczek, Structure, 2018. Lithograph. 7.5 x 9" Courtesy of the artist Lithograph print of a close up of a building structure

Peter Baczek

Structure
Deana Bada-Maloney, Splitting Hare, 2019. Stoneware and found object. 5 x 12 x 5" Courtesy of the artist.  Deana Bada-Maloney, Nectar, 2019. Stoneware and found objects. 7.5 x 4 x 2.5" Courtesy of the artist A sculpture of a hare caught in between a canister of ships.

Deana Bada-Maloney

Splitting Hare
Deana Bada-Maloney, Nectar, 2019. Stoneware and found objects. 7.5 x 4 x 2.5" Courtesy of the artist. A bird sitting on top of a cracked glass bottle of sparkling pomagranite.

Deana Bada-Maloney

Nectar
Mariona Barkus, Unknown 30, 2017. Acrylic Ink, paint on canvas on panel. 24 x 24 x 2" Courtesy of the artist. White and blue glowing effect, white in the center and the surroundings are blue

Mariona Barkus

Unknown 30
Brandin Baron, Wanted: Shoplifter, 2018. Silkscreen on cotton paper with mixed media. 10 x 13" Courtesy of the artist. Image of a man and other images overlayed onto each other

Brandin Baron

Wanted: Shoplifter
Alexandra Basford, Crowd Scene, 2019. Sumi ink on paper. 15.5 x 10.3" Courtesy of the artist. Abstract shapes in light and dark shades of black

Alexandra Basford

Crowd scene
Elizabeth Bennett, Bag, Banana, and Carrot from the series of Grocery Stories, 2018. Screen print on brown "shopping" bags. 17 x 12 x 7" each. Courtesy of the artist. The brown paper bags, each with a different image and text printed on top

Elizabeth Bennett

Bag, Banana, and Carrot
Michele Benzamin-Miki, Momentum, 2015. Graphite and Sumi ink on paper. 43 x 28" Courtesy of the artist. A black and white image with a figure in motion with ink strokes surrounding the figure

Michele Benzamin-Miki

Momentum
Reiko Berg, Pine Tree Stump Vessel, 2019. Clay 9 x 14 x 10" Courtesy of the artist. A rough textured brown sculpture with jagged edges

Reiko Berg

Pine Tree Stump Vessel
A. Binghamfreeman, Standing Figure, 2018. Clay and glaze. 15 x 9.5 x 4.5" Courtesy of the artist. A distored figure that is colored black, brown, and grey

A. Bingham-Freeman

Standing Figure
Caroline Blackburn, No 440, 2019. Clay, high fire, stoneware. 20 x 18 18" Courtesy of the artist. A black round object with ribbon like extrusions

Caroline Blackburn

No. 440
Irina Bondarenko, Tea Caddy VII, 2018. Low fire terracotta, sgrafitto on terra sigilata 5 x 10 x 7" Courtesy of the artist. A tea caddy with flowers drawn on the surface

Irina Bondarenko

Tea Caddy VII
Nubia Bonilla, Wisdom and Loyalty, 2019. Hand-built coil, white clay, horse hair, wood, iron wheels. 38 x 32 x24" Courtesy of the artist. Human figures are crawling over an elephant on top of a cart

Nubia Bonilla

Wisdom and Loyalty
Ariel Bowman, Passe Dore, 2017. Ceramic, flocking, gold leaf, wax. 36 x 22 x 14" Courtesy of the artist. A large elephant like animal with three tusks pointing its head towards a chandelier while standing on a table with gold legs

Ariel Bowman

Passe Dore
Chess Brodnick, It's not what i wanted it to be, 2019. Sumi-e ink on paper. 26 x 19" Courtesy of the artist. A drawing of a mans face that is morphing out into lines at the head, cheeks, and chin

Chess Brodnick

It's not what i wanted it to be
Andrea Broekelschen, Lace, 2019. Monoprint oil-based ink on old bible pages 43 x 31" Courtesy of the artist. A drawing of a dress made up of small oval shapes drawn over bible pages

Andra Broekel-schen

Lace
Maria Bruckman, In pari delicto, 2018. Porcelain, acrylic, resin, pins, baroque pearls, fibers 10.5 x 9 x 15" Courtesy of the artist. Two pink colored creatures with brown clothing and hairy feet

Maria Bruckman

In pari delicto
Matt Brugger, Portrait, 2019. Glazed ceramic 32 x 7 x 14.4" Courtesy of the artist. A brown/tan colored worm like shape with the face of a person facing upwards

Matt Brugger

Portrait
Vincent Burke, Double Negative, 2017. Stoneware, gas-fired cone 6, electric-fired cone 04 11 x 8 x 1.5" Courtesy of the artist. A erroded block with vertical and horizontal lines running across

Vincent Burke

Double Negative
Adrienne Butler, Intention, 2017. Screen printed watercolor monotype. 15 x 11" Courtesy of the artist. Oval shaped overlapped onto each other changing color from blue to yellow

Adrienne Butler

Intention
Kyle Chaput, Rio Bravo II-II, 2019 lithograph 9 x 13“ Courtesy of the artist. A small boat that appears to be surrounded by scaffolding

Kyle Chaput

Rio Bravo II-II
Nora Chen, The Mystic Leaf Bottle and Saucer, 2018. Wheel-thrown, hand-carved, high-fired reduction 6 x 4.5 x 4.5” Courtesy of the artist. A round spherical bottle on top of a saucer. Objects have a light green color and a leaf design placed around

Nora Chen

The Mystic Leaf Bottle and Saucer
Chuka Susan Chesney, Just Married After All These Years, 2016. Watercolor, pen and ink, brush and ink, pencil. 20 x 13“ Courtesy of the artist. An ink and watercolor artwork that depicts a two women married women with a bed in the center and miscellaneous objects around

Chuka Susan Chesney

Just Married After All These Years
Brian Christensen, Maintaining a Tenuous Construct, 2017. Ceramic, steel. 25 x 10 x 13” Courtesy of the artist. A sculpture of a man with sticks surrounding him and a wires going through his body.

Brian Christensen

Maintaining a Tenuous Construct

Brian Christensen, Not My Monkeys, Not My Circus, 2018. Ceramic. 22.5 x 13 x 16” Courtesy of the artist. A sculpture of the head of a woman with facial features painted.

Brian Christensen

Not My Monkeys, Not My Circus
Melanie Ciccone, Ascension, 2016-17 Chine collé monoprint. 13.5 x 11” Courtesy of the artist. Various circular shapes in reds, blues, and peach colors and thin lines in black sprawled among the image space

Melanie Ciccone

Ascension
Brian D. Cohen, Pine Cone, 2015. Etching. 5 x 5“ Courtesy of the artist. An etching of a pine cone at the center

Brian D. Cohen

Pine Cone
Sarah Collins, Here I Crawl, 2019. Fine liner pen on toned paper. 11 x 4” Courtesy of the artist. Abstract shapes that vary in thickness and shape on grey paper

Sarah Collins

Here I Crawl
Tracey Corinne, Resistance Cup Set, 2019. Ceramics 7 x 8 x 8” each. Courtesy of the artist. A set of 4 teacups each decorated with a unique social message

Tracey Corinne

Resistance Cup Set

Lisa Crane, Folie a Deux, 2019. Clay. 22 x 17 x 9” Courtesy of the artist. A sculpture of the head of a woman and rabitt wearing a wreath of flowers

Lisa Crane

Folie a Deux
Sheila Daube, The Man Who Lies With Immortal Goddesses 2, 2018. Ink, Venetian plaster. 48 x 48 x 2” Courtesy of the artist. Jagged and fast lines are drawn all over the artwork area. In pink, brown, and black colors

Sheila Daube

The Man Who Lies With Immortal Goddesses 2

Jaqueline Diesing, Metropolitan Building, 2019. Mixed media: micron ink and soft pastels. 17 x 13“ Courtesy of the artist. A drawing of a building with large pink and purple flowers coming out from behind the building

Jaqueline Diesing

Metropolitan Building

Tien Do, Rest, 2019. Wall installation: glass, metal, clay. 64 x 60 x 10” Courtesy of the artist. A series of glass leaves mounted onto a wall placed in a order that appears to be falling

Tien Do

Rest

Kevin Eaton, Cookie Jar No. 2, 2018. Ceramic 16 x 9.5 x 9.5” Courtesy of the artist. A rocket shaped sculpture with text and a cloud on the bottom

Kevin Eaton

Cookie Jar No. 2
Pam Farkas, Vertebral, 2018. Clay. 68 x 10 x 10” Courtesy of the artist. A tall sculpture of a man with a cap, the sculpture has a rough and jagged texture to it

Pam Farkas

Vertebral
Hellenmae Fitzgerald, Mr. Rabbit, 2019. Oil paint on porcelain. 11 x 14 x 7” Courtesy of the artist. A sculpture of a human head with the ears of a rabbit and hearts painted onto the face

Hellenmae Fitzgerald

Mr. Rabbit

Rosemary Giusti Dillon, When My Daughters Were Mermaids, 2018. Clay pinch-pots with a complex graffito design. 3 x 5.25” dia. and 2.5 x 5.5” dia. Courtesy of the artist. Two white clay pots with brown designs of mermaids

Rosemary Giusti Dillon

When My Daughters Were Mermaids
Gail Glikmann, Who Is My Son, 2011. Terracotta2 8 x 12 x 18” Courtesy of the artist. A sculpture of a man with a red mask reaching upwards with two hands

Gail Glikmann

Who Is My Son
Victoria Goro-Rapoport, Hatching Out, 2018. Etching, mixed media. 12 x 12“ Courtesy of the artist. An etching showing buildings, the ocean, and mixed animal beings in a distorted spiral motion

Victoria Goro-Rapoport

Hatching Out
Mark Goudy, Relational Forms (#878, 935), 2019. Unglazed porcelain, soluble metals: gold, cobalt, chromium. 9 x 7” dia. and 11 x 4.5” Courtesy of the artist. Two scultptures of cup or vase like objects in grey color with white dots all over

Mark Goudy

Relational Forms (#878, 935)
M. Alexander Gray, Hardware River Aqueduct III, 2017-18. Engraving. 7.5 x 12“ Courtesy of the artist. Engraving of a bridge over water

M. Alexander Gray

Hardware River Aqueduct III
Jennifer Halli, Spring, 2019. Thai kozo, various clays, photographs, pins. 15.5 x 15.5 x 1” Courtesy of the artist. Four clay squares with rough textures covered in a rust color with black text placed on top

Jennifer Halli

Spring
Sharon Hardy, Afterburn, 2019. Ceramic. 3 x 11 x 15” Courtesy of the artist. A sculpture of a plate with seed pods

Sharon Hardy

Afterburn
Robbie Heidinger, Massachusetts Medicinals, 2018. Stoneware 14 x 10 x 3.5” Courtesy of the artist. A cylindrical sculpture with various shapes and patterns in orange, black, and light yellow

Robbie Heidinger

Massachusetts Medicinals
Mark Hendrickson, Torso 1, 2019. Ceramic 10.5 x 8 x 8” Courtesy of the artist. A vaselike sculpture with a rough texture in a light green color

Mark Hendrickson

Toros
K. Ryan Henisey, Trans Sebastian, 2018. Watercolor, ink, marker, and metal foil. 40.5 x 35” Courtesy of the artist. A watercolor painting of a landscape with electrical towers and the outline of a figure hit with arrows in silver

K. Ryan Henisey

Trans Sebastian
Stephen Horn, Baby Matrix #1, 2019. White stoneware Paperclay, cone 06-fired. 20.5 x 17.5 x .25” Courtesy of the artist. A rectangle shaped sculpture with a large circle and many small circles

Stephen Horn

Baby Matrix #1
Richard Hricko, Second Growth, 2018. Woodblock on Kitakata. 48 x 50“ Courtesy of the artist. Various types of grass and leaves in black and brown color

Richard Hricko

Second Growth

Bryant Ida, Manzanar, 2018. Ink on panel. 36 x 48 x 2" Courtesy of the artist. Bryant Ida, Grandfather, 2018. Ink on panel 60 x 37 x 2” Courtesy of the artist. A portrait of a older man surrounded by suitcases, three boys on the inside of a wire fence

Bryan Ida

Grandfather
Bryant Ida, Manzanar, 2018. Ink on panel. 36 x 48 x 2" Courtesy of the artist. A ink drawing of three young men behind a wire fence.

Bryan Ida

Manzanar
Mariko Ishii, Dream in Spring, 2018. Printmaking linocut. Reduction 24 x 24” Courtesy of the artist. A outdoor scene of trees and yellow flowers

Mariko Ishii

Dream in Spring
Naoto Ishikawa, Sakura, Sakura, 2018. Linocut reduction print. 35 x 21” Courtesy of the artist. A print of boats on the water near a tree with white flowers

Naoto Ishikawa

Sakura, Sakura
Beatriz Jaramillo, Broken Ice Diptych, 2018. Porcelain and black clay. 11 x 22 x 1” Courtesy of the artist. Two squares with a smaller shattered square placed in the center

Beatriz Jaramillo

Broken Ice Diptych
CJ Jilek, Perspective, 2017 ceramic, underglaze, flocking and vintage millenry elements. 14 x 17 x 12” Courtesy of the artist. A sculpture of a plant-like organism with orange and green textures

CJ Jilek

Perspective
Pancho Jimenez, Gas Mask, 2018. Ceramic. 14 x 13 x 15” Courtesy of the artist. A sculture of a gas mask with depictions of baby heads in the mask openings

Pancho Jimenez

Gas Mask
Julienne Johnson, Coda 021, 2018. mixed media: Chinese ink, archival printer’s ink, Chinese paint. 38 x 29“ Courtesy of the artist. Abstract vertical rectangle shapes that appear to reflect horizontally

Julienne Johnson

Coda 021
Maya Kabat, Time Is Asymmetrical 2, 2017. pen and ink on paper. 28 x 19.5“ Courtesy of the artist. A and and ink drawing of numbers and ink blotches

Maya Kabat

Time Is Asymmetrical 2
Alexis Kaminsky, Ice Floe, 2019. Ceramic, MDF, casein and spray paint, hardware. 16 x 33 x 2.5” Courtesy of the artist. A sculpture of various triangular and rounded rectangle shapes in blue tonesA sculpture of various triangular and rounded rectangle shapes in blue tones

Alexis Kaminsky

Ice Floe
Marzieh Karimi, It Was Good to Be There #1, 2016. Mixed media: Polaroid photograph and clay. 14 x 11 x 1.5” Courtesy of the artist. Three Polaroid photographs of a outdoors scene

Marzieh Karimi

It Was Good to Be There #1
Colleen M. Kelly, Baby Head, 2015. Monoprint with Chine collé. 15 x 11“ Courtesy of the artist. A monoprint of a clothed woman and nude woman wearing a hat

Colleen M. Kelly

Baby Head
Kyung Min Kim, Did You Eat? I Love You!, 2019. Mixed media floorpiece installation: clay, cotton, linen, wood. 20 x 50 x 25” Courtesy of the artist. A set of clay pottery to eat and drink food with

Kyung Min Kim

Did You Eat? I Love You!
Amanda Klimek, Snatch, 2018. Porcelain. 4 x 8 x 8” Courtesy of the artist. A black and white colored sculpture with abstract shapes

Amanda Klimek

Snatch
Genevieve L'Heureux, Fracture III, second state, 2017. Etching, aquatint on Somerset paper. 22.25 x 22.5“ Courtesy of the artist. A black and white etching of many vertical lines and a few horizontal lines

Genevieve L'Heureux

Fracture III
SJ Lane, Animate, 2019. Ceramic. 16 x 8 x 2.25” Courtesy of the artist. A sculpture of a organic looking form with messy black lines over white

SJ Lane

Animate
Mako Lanselle, On the Verge, 2018. Litho, drypoint, relief, Chine collé, hand-coloring and thread. 12 x 6“ Courtesy of the artist. A polar bear standing on a red rope over a glacier

Mako Lanselle

On the Verge
Gina Lawson Egan, Unity, 2018. Ceramic, cone 02-fired, colored slips, stains and glazes. 35 x 17 x 13” Courtesy of the artist. A sculpture of a two people on top of a bridge with animals and water surrounding them

Gina Lawson Egan

Unity
Ariane Leiter, Weathered Flat, 2018. Clay. 17 x 13.5 x 5.5” Courtesy of the artist. A sculpture of a rectangle shaped object that is tan in color

Ariane Leiter

Weathered Flat
Carolyn Liesy, School Shootings: Hung Out to Dry, 2018. Collograph, clothes pins, rope. 24 x 67 x 3“ Courtesy of the artist. Two shirts hanging on a wire.

Carolyn Liesy

School Shootings: Hung Out to Dry
Annell Livingston, Fragments, Geometry and Change #149, 2019. Flashe on watercolor paper. 30 x 30“ Courtesy of the artist. Many triangles in four different colors creating a texture

Annell Livingston

Fragments, Geometry and Change #149
Gloria Lujan Whitney, Abuelita, 2018. Hand-pulled woodcut on Japanese washi paper. 26 x 14“ Courtesy of the artist. A woodcut print of a woman sitting down next to a statue

Gloria Lujan Whitney

Abuelita
Gina M., Handle with Care, 2017. Assemblage floorpiece: ceramic, artist china, vintage found objects, coco mat. 46 x 32 x 47” Courtesy of the artist. The ‘bull in a china shop’ idiom is turned on itself in the ceramic and oxide sculpture Handle with Care. A toy bull, after assaulting a stack of china, twists with rage as a shattered platter pierces his side and stuffing spills out. I used my own wedding china to create this piece giving the china a chance to get even  .  In all my work there is a whimsy with a dark side. My personal narrative uses innocent childhood imagery like teddy bears, toys, and puppets to create the reactionary expressions of my inner emotional life. When something happens to me and triggers a buried emotion, a lost sentiment or a hidden pain, I must reconstruct and resurrect it outside of myself and find the story behind it.     Combining assemblage with ceramics fills my current body of work. The homespun construction and textured surfaces simulate threadbare fabric and tattered fur.     I select materials based on their authenticity to my process. I choose clay because of its fragility, its relationship to the earth, and its tradition in arts and craft. I incorporate recycled materials such as wood and found objects because of their nostalgia and reference to aging, decay and decomposition.

Gina M.

Handle with Care
Connie Major, T.V. Time, 2018. Stoneware clay, high-fire glazes, glass. 15 x 15 x 3” Courtesy of the artist. A sculpture of plates, cups, and eating utencils

Connie Major

T.V. Time
CJ Mammarella, Prophet, 2019. Ink on paper. 8.5 x 11“ Courtesy of the artist. An ink drawing of a stuffed animal surrounded by blue inkblots

CJ Mammarella

Prophet
Shahin T. Massoudi, Land, 2019. Ceramic 23.5 x 7 x 7” Courtesy of the artist. A sculpture of a vertical vessel with lines along the middle section

Shahin T. Massoudi

Land
Garrett Masterson, Moon Rock, 2018. Fired stoneware. 38 x 26 x 16” Courtesy of the artist. A round stone placed on top of a larger rounded form with a flat bottom

Garrett Masterson

Moon Rock
Babetter Mayor, Still Waters Run Deep, 2018. Digital mixed-media, colored pencils, mono-print. 21 x 16“ Courtesy of the artist. An image of a puffer fish with smoke and shapes behind it

Babetter Mayor

Still Waters Run Deep
Jeff Miller, Apollo’s Eye, 23, 2019. Gesso, ink on paper. 35 x 35“ Courtesy of the artist. A circular dark shape with small round circles that create a texture

Jeff Miller

Apollo's Eye
Joy Nagy, Topsy-turvy, 2019. White porcelain vessel. 7.5 x 5 x 5” Courtesy of the artist. A sculpture of a white vessel with vertical lines surround it on all sides

Joy Nagy

Topsy-turvy
Marie Nagy, Drowning in Memories, 2019. Ceramics. 16 x 22 x 8” Courtesy of the artist. Three different colored cup-like containers with a handle and spout

Marie Nagy

Drowning in Memories
Richard Nickel, Sprouts, 2018. Ceramic. 19.5 x 14 x 5” Courtesy of the artist. A sculpture of plant-like object with four heads coming out from the flower

Richard Nickel

Sprouts
Lucans Novak, The Paper, 2016. Video art, stop-action claymation, 2 minutes 44 seconds. Courtesy of the artist. A scene from a claymation of a person in bed looking out a window

Lucas Novak

The Paper
Daniel Oliver, Urn Series, 2019. Clay. 14 x 9 x 9” Courtesy of the artist. A sculpture of a urn with and handle on the top and warped side walls with patterns and buttons on the side

Daniel Oliver

Urn Series
Susan Ossman, Spazieren Gehen - Going for a Spring Walk, 2017. Acrylic, ink and paper on linen. 48 x 84.5“ Courtesy of the artist. A blue painting with abstract textures and shapes placed all over the linen

Susan Ossman

Spazieren Gehen - Going for a Spring Walk
Steven Osterlund, Quod Opus, 2017. Ceramic. 28 x 11 x 12” Courtesy of the artist. A sculpture of industrial looking equipment with various shapes in a bronze color

Steven Osterlund

Quod Opus
Gail Panske, Bend the Air, 2018. woodcut. 13 x 9.5“ Courtesy of the artist. A woodcut print that is all black except for the top center that has a type of white necklace

Gail Panske

Bend the Air
Sarah Petty, Deaf Ear, 2019. Porcelain, ball-point pen, cotton, wood 5.5 x 4 x 3.5” Courtesy of the artist. A ballpoint drawing of an ear

Sarah Petty

Deaf Ear
Button to enlarge Sarah Petty, Grief, 2018. Found ceramic plate, china paint. 6 x 5 x 4.5” Courtesy of the artist. A ceramic plate with painted lungs and heart dropping blue drops.

Sarah Petty

Grief
Ann Phong, A Female Refugee’s Story, 2019. Litho print with acrylic. 42 x 50 x 1.5” Courtesy of the artist. A print with what appears to be waves or clouds. There is a rectangular section in black and white of distorted and abstract shapes

Ann Phong

A Female Refugee’s Story

Lily Pon, Dream Dress, 2018. Ceramic hanging sculpture. 52 x 38 x 42” Courtesy of the artist. A hanging sculpture of a white dress with holes that have a web-like structure

Lily Pon

Dream Dress
Matt Rose, Moving: A Life in 25 Houses,  2019. Ceramic and chalk floorpiece installation, composed of several ceramic parts/objects. 7 x 4 x 4” each house. Courtesy of the artist. A series of small house sculptures places on top of a chalk hop-scotch drawing

Matt Rose

Moving: A Life in 25 Houses
Brian Row, Wailing Wall, 2018. Ink and paper. 14.875 x 21.375“ Courtesy of the artist. A ink drawing that is black and white with various lines creating a texture

Brian Row

Wailing Wall
Hasna Sal, The Golfer, 2018. Ink on glass 12 x 10 x 1” Courtesy of the artist. A ink drawing on glass that shows a person playing golf

Hasna Sal

The Golfer
Nanci Schrieber-Smith, The Pelican Brief, 2019. Mixed media assemblage 7 x 9.8 x 7” Courtesy of the artist. A mixed media assemblage of two birds in front of a opened book. The Pelican Brief, 2019. Mixed media assemblage 7 x 9.8 x 7” Courtesy of the artist

Nanci Schrieber-Smith

The Pelican Brief
Masha Schweitzer, The Air We Breathe IX, 2018. Monotype. 17.5 x 19.5“ Courtesy of the artist. This artwork shows an owl flying away from huge smoke clouds coming from factories.

Masha Schweitzer

The Air We Breathe IX

Masha Schweitzer, Behind the Wire, 2018. monotype. 14 x 21“ Courtesy of the artist. This artwork shows women behind a barbed wire fence looking at the viewer.

Masha Schweitzer

Behind the Wire
Anita Seltzer, Edith Wharton Tablescape, 2018. Photopolymer intaglio etching, plate Hahnemuhle Copperplate etching paper, Akua Ink, Charles Brand Press. 10.25 x 7.620” Courtesy of the artist. A monochrome etching of silverware. Anita Seltzer, Edith Wharton Tablescape, 2018. Photopolymer intaglio etching, plate Hahnemuhle Copperplate etching paper, Akua Ink, Charles Brand Press. 10.25 x 7.620” Courtesy of the artist

Anita Seltzer

Edith Wharton Tablescape
Suzanne Sidebottom, Emptied Box, 2017. Stoneware and porcelain and underglazes. 12 x 10 x 12” Courtesy of the artist.

Suzanne Sidebottom

Emptied Box
Sierra Slentz, Invasive and Unsustainable Ashtray Series, 2018. Wall installation: ceramic earthenware, glaze, luster, decal, wood, spraypaint. 16 x 62.5 x 8” Courtesy of the artist. Five different sculptures of ashtrays with different types of symbols placed around them. Sierra Slentz, Invasive and Unsustainable Ashtray Series, 2018. Wall installation: ceramic earthenware, glaze, luster, decal, wood, spraypaint. 16 x 62.5 x 8” Courtesy of the artist.

Sierra Slentz

Invasive and Unsustainable Ashtray Series
Ethan Snow, Formal Considerations, 2019. Porcelain, paper. 6 x 5 x 3" Courtesy of the artist. A sculpture of two geometrically shaped objects with different layers of colors. Ethan Snow, Formal Considerations, 2019. Porcelain, paper. 6 x 5 x 3" Courtesy of the artist.

Ethan Snow

Formal Considerations
Jane Springwater, Out of Darkness, 2018. Etching and aquatint; Sharpie-resist drawing on copper plate. 17 x 16” Courtesy of the artist. A black and white etching of thin white lines overlapping each other creating a wave form texture.

Jane Springwater

Out of Darkness
Howard Steenwyk, Industrial Impressionism, 2018. Two-color silkscreen print on canvas mounted to board, ed. 1 of 3. 18 x 24 x 1” Courtesy of the artist. A silkscreen print of Jello boxes, Pom drinks, and cans of Pear Halves. Howard Steenwyk, Industrial Impressionism, 2018. Two-color silkscreen print on canvas mounted to board, ed. 1 of 3. 18 x 24 x 1” Courtesy of the artist.

Howard Steenwyk

Industrial Impressionism
Suzanne Storer, The Couple, 2017. Ceramic wall sculpture in high-relief; based on life drawing, raised slab construction. 24 x 18 x 6.5” Courtesy of the artist. A ceramic wall sculpture of a profile view of two people. Suzanne Storer, The Couple, 2017. Ceramic wall sculpture in high-relief; based on life drawing, raised slab construction. 24 x 18 x 6.5” Courtesy of the artist.

Suzanne Storer

The Couple
Katie Stubblefield, Glade, 2019. Woodcut print with aluminum tape in a Ribba frame. 20 x 28” Courtesy of the artist. A woodcut print of various lines creating a chaotic texture.

Katie Stubblefield

Glade
Deane Swick, AB/610/19, Artist’s Book, 2019. Printer’s ink, acrylic, gouache, graphite. 8.75 x 23 x .75” Courtesy of the artist. A brown book with a different images on diferent pages.

Deane Swick

AB/610/19

Nina Temple, Marvin, 2018. Clay, acrylic and ink. 18.5 x 19.5 x 16.25” Courtesy of the artist. A yellow clay sculpture of a biomorphic shape with colored details throughout the surface area.

Nina Temple

Marvin
Laura Terry, A Book of Maps, 2017. Monoprint collage with graphite and hand-stitching. 24 x 36.5“ Courtesy of the artist. A monoprint collage of nature patterns.

Laura Terry

A Book of Maps
Takao Tomono, Message, 2018. Clay. 17 x 12 x 3.5” Courtesy of the artist. A sculpture of a clay tablet with elements of caligraphy.

Takao Tomono

Message

Noriho Uriu, Infinite Passage, 2017. Intaglio and mixed media. 18 x 24“ Courtesy of the artist. A oval shaped object made up of various lines with a dashed line running through the center.

Noriho Uriu

Infinite Passage
Peter Van Ael, Sharing a Sprig 1, 2018 reduction woodcut. 20 x 16“ Courtesy of the artist. A woodcut print of a butterfly with orange, white, blue, and black wings.

Peter Van Ael

Sharing a Sprig 1
Brandon Walls, Dream a Little Dream, 2019. Polyester plate lithography and drypoint on paper. 22 x 17“ Courtesy of the artist. A print of constellations in space over a blue background.

Brandon Walls

Dream a Little Dream
Sylvia Solocheck Walters, The Adored and Aggrieved, 2018. Reductive woodcut and stencils. 17 x 14“ Courtesy of the artist A woodcut print of a large chicken looking down at a woman.

Sylvia Solocheck Walters

The Adored and Aggrieved
Sabrina Weld Feldman, Whenever Her Mother Turned Her Head, 2019. Ceramic. 23.5 x 14 x 14” Courtesy of the artist. Whenever Her Mother Turned Her Head

Sabrina Weld Feldman

Whenever Her Mother Turned Her Head
Katie Yang, Chance, 2018. Clay infused with smoke. 5.75 x 6 x 5.5” Courtesy of the artist. A ceramic sculpture of a round bead-like object with a curved opening that folds.

Katie Yang

Chance
Kathy Yoshihara, Going Home, 2019. Cone 10-fired ceramic sculpture. 12 x 20 x 14” Courtesy of the artist. A sculpture of a man resting his head on a wooden crate.

Kathy Yoshihara

Going Home
Nancy Young, Azul, 2017. Etching. 8 x 18“ Courtesy of the artist. An etching of a man with gunglasses.

Nancy Young

Azul
Jim Zver, Hallucination #16, 2019. India ink, charcoal on paper. 26 x 22“ Courtesy of the artist. A ink and chorcoal drawing of organic abstract shapes intertwined with each other.

Jim Zver

Hallucination #16
Awards

Awards

Ink & Clay 44 Awards

Cal Poly Pomona and the Kellogg University Art Gallery are pleased to offer $7,000 in cash awards this year. These include: the James H. Jones Memorial Purchase Award, generously sponsored by Mr. Bruce M. Jewett and the Col. Jones Ink & Clay Endowments; the University President’s Purchase Award, sponsored by the Office of the University President, Soraya Coley; as well as Jurors’ Choice and Curator’s Choice Purchase Awards. Additional awards include monetary Prize Awards and Honorable Mentions.

 

 

Juror's Purchase and Prize Awards & Honorable Mentions

Infinite Passage by Noriho Uriu

Jurors’ Choice Ink Purchase Award

Noriho Uriu
Infinite Passage, 2017
intaglio and mixed media
dimensions: 18 x 24“
Courtesy of Noriho Uriu

Nectar by ​Deana Bada Maloney

Jurors’ Choice Clay Purchase Award

Deana Bada Maloney
Nectar, 2019
Stoneware and found objects
dimensions: 7.5 x 4 x 2.5”
Courtesy of Deana Bada Maloney

Grandfather by Bryan Ida

Jurors’ Choice Ink Prize Award

Bryan Ida
Grandfather, 2018
Ink and panel
dimensions: 36 x 48 x 2”
Courtesy of Bryan Ida

Perspective by CJ Jilek

Jurors’ Choice Clay Prize Award

CJ Jilek
Perspective, 2017
Ceramic, underglaze, flocking, and vintage millenary elements
dimensions: 14 x 17 x 12”
Courtesy of CJ Jilek

Out of Darkness by Jane Springwater

Ink Juror’s Choice Honorable Mention

Jane Springwater
Out of Darkness, 2018
etching and aquatint; Sharpie-resist drawing on
copper plate
dimensions: 17 x 16”
Courtesy of Jane Springwater

Das Narrenschiff by David Avery

Ink Juror’s Choice Honorable Mention

David Avery
Das Narrenschiff, 2018
hard-ground etching
dimensions: 14.25 x 7.5“
Courtesy of David Avery

Unity by Gina Lawson Egan

Clay Juror’s Choice Honorable Mention

Gina Lawson Egan
Unity, 2018
ceramic, cone 02-fired, colored slips, stains and glazes
dimensions: 35 x 17 x 13”
Courtesy of Gina Lawson Egan

Broken Ice Diptych by Beatriz Jaramillo

Clay Juror’s Choice Honorable Mention

Beatriz Jaramillo
Broken Ice Diptych, 2018
porcelain and black clay
dimensions: 11 x 22 x 1”
Courtesy of Beatriz Jaramillo

Who Is My Son by Gail Glikmann

Curatorial Juror’s Choice Honorable Mention in Clay

Gail Glikmann
Who Is My Son, 2011
terracotta
dimensions: 28 x 12 x 18”
Courtesy of Gail Glikmann

Curatorial Juror’s Choice Honorable Mention in Ink

Bryan Ida
Manzanar, 2018
Ink on panel
dimensions: 36 x 48 x 2”
Courtesy of Bryan Ida

 

Donor's Purchase and Prize Awards & Honorable Mentions

Tea Caddy VII by Bondarenko

Col. James Jones Memorial Purchase Award

Irina Bondarenko
Tea Caddy VII, 2018
low fire terracotta, sgrafitto on terra sigillata
dimensions: 5 x 10 x 7”
Courtesy of Irina Bondarenka 

Torso 1 by Mark Hendrickson

Col. James Jones Memorial Purchase Award for Clay

Mark Hendrickson
Torso 1, 2019
ceramic
dimensions: 10.5 x 8 x 8”
Courtesy of Mark Hendrickson

The Mystic Leaf Bottle and Saucer by Nora Chen

Col. James Jones Memorial Purchase Award

Nora Chen
The Mystic Leaf Bottle and Saucer, 2018
wheel-thrown, hand-carved, high-fired reduction
dimensions: 6 x 4.5 x 4.5”
Courtesy of Nora Chen

No. 440 by Caroline Blackburn

Donor’s Choice Clay Prize Award

Caroline Blackburn
No. 440, 2019
clay, high fire, stoneware
dimensions: 20 x 18 x 18”
Courtesy of Caroline Blackburn

Still Waters Run Deep by Babette Mayor

Donor’s Choice Ink Prize Award

Babette Mayor
Still Waters Run Deep, 2018
stoneware clay, high-fire glazes, glass
dimensions: 15 x 15 x 3”
Courtesy of Babette Mayor

Donor’s Choice Honorable Mention in Clay

Shahin Massoudi
Land, 2019
ceramic
dimensions: 23.5 x 7 x 7”
Courtesy of Shahin Massoudi

Crowd Scene by Alexandra Basford

Donor’s Choice Honorable Mention in Ink

Alexandra Basford
Crowd Scene, 2019
Sumi ink on paper
dimensions: 15.5 x 10.3“
Courtesy of Alexandra Basford

President's Purchase and Prize Awards & Honorable Mentions

A Female Refugee’s Story

University President’s Choice Ink Purchase Award

Ann Phong
A Female Refugee’s Story, 2019
Litho print with acrylic
dimensions: 42 x 50 x 1.5”
Courtesy of Ann Phong

Urn Series by Daniel Oliver

University President’s Choice Clay Prize Award

Daniel Oliver
Urn Series, 2019
clay
dimensions: 14 x 9 x 9”
Courtesy of Daniel Oliver

Coda 021 by Julienne Johnson

University President’s Choice Ink Prize Award

Julienne Johnson
Coda 021, 2018
mixed media: Chinese ink,
archival printer’s ink, Chinese paint
dimensions: 38 x 29“
Courtesy of Julienne Johnson

The Pelican Brief  by Nanci Schrieber-Smith

University President’s Choice Honorable Mention in Ink

Nanci Schrieber-Smith
The Pelican Brief, 2019
mixed media assemblage
dimensions: 7 x 9.8 x 7”
Courtesy of Nanci Schrieber-Smith

Wisdom and Loyalty by Nubia Bonilla

University President’s Choice Honorable Mention in Clay

Nubia Bonilla
Wisdom and Loyalty, 2019
hand-built coil, white clay,
horse hair, wood, iron wheels
dimensions: 38 x 32 x 24”
Courtesy of Nubia Bonilla

Gallery Curator's Purchase and Prize Awards & Honorable Mentions

Industrial Impressionism by Howard Steenwyk

Gallery Curator’s Ink Purchase Award

Howard Steenwyk
Industrial Impressionism, 2018
two-color silkscreen print on
canvas mounted to board, ed. 1 of 3
dimensions: 18 x 24 x 1”
Courtesy of Howard Steenwyk

Glade by Katie Stubblefield

Gallery Curator’s Ink Purchase Award

Katie Stubblefield
Glade, 2019
woodcut print with aluminum tape in a Ribba frame
dimensions: 20 x 28”
Courtesy of Katie Stubblefield

The paper by Lucas Novak

Gallery Curator’s Clay Purchase Award

Lucas Novak
The Paper, 2016
video art, stop-action claymation
2 minutes 44 seconds
Courtesy of Lucas Novak

Invasive and Unsustainable Ashtray by Sierra Slentz

Gallery Curator’s Choice Clay Prize

Sierra Slentz
Invasive and Unsustainable Ashtray Series, 2018
wall installation: ceramic earthenware,
glaze, luster, decal, wood, spray paint
dimensions: 16 x 62.5 x 8”
Courtesy of Sierra Slentz

It’s not what I wanted it to be by Chess Brodnick

Gallery Curator’s Choice Ink Prize

Chess Brodnick
It’s not what I wanted it to be, 2019
Sumi-e ink on paper
dimensions: 26 x 19“
Courtesy of Chess Brodnick

Gallery Curator’s Choice Honorable Mention in Ink

Genevieve L’Heureux
Fracture III, second state, 2017
etching, aquatint on Somerset paper
dimensions: 22.25 x 22.5“
Courtesy of Genevieve L’Heureux

Second Growth by Richard Hricko

Gallery Curator’s Choice Honorable Mention in Ink

Richard Hricko
Second Growth, 2018
woodblock on Kitakata
dimensions: 48 x 50“
Courtesy of Richard Hricko

Collateral Damage: Sailor, Soldier, Marine by Pascual Arriaga

Gallery Curator’s Choice Honorable Mention in Clay

Pascual Arriaga
Collateral Damage: Sailor, Soldier, Marine, 2017
porcelain slip sast ceramic, cone 05, ammo cans
dimensions: 31 x 34 x 20"
Courtesy of Pascual Arriaga

 

Gallery Views

Installation View, Title Wall, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019Installation View, Title Wall, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Installation View, Front of Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019Installation View, Front West Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 


Installation View, Front of Gallery, Ink & Clay 44 ExhibitionInstallation View, Front East Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Installation View, Front East Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.Installation View, Front East Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Installation View, Corridor of Gallery, Ink & Clay 44 Exhibition Installation View, Corridor Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Installation View, Back of Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019Installation View, Back Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Installation View, Back of Gallery, Ink & Clay 44 ExhibitionInstallation View, Back Gallery, Ink & Clay 44 Exhibition, Aug. 22, 2019 to Nov. 21, 2019.

 

Video | Gallery Tour 

Click on the video below to watch the Ink & Clay 44 Exhibition. A recorded tour of this exhibition at the Kellogg University Art Gallery. It is filled with several displayed artworks made of ink, clay, or combination of both as material. Excerpts from the opening reception with visitors and artist enjoyed the exhibited artworks. 


 

Ink & Clay 44 Digital Catalog

Your Ink & Clay 44 catalog is available for download by clicking on the cover image below.Ink & Clay 44 Catalog Cover, Various Artworks in the Ink & Clay 44 Exhibit

 

Appreciation to the Following Departments/Individuals

College of Environmental Design
Art Department
Office of the President, Soraya Coley, Cal Poly Pomona
Donor Mr. Bruce Jewett and the late Col. James Jones
This year’s jurors: Susan Elizalde-Henson, Juri Koll and Kimiko Miyoshi


Gallery Support Staff

Atineh  Movsesian, Indra Karki, Jessica Dickerson, Antoinette Shapiro, Katrina Santos, Jed Irish Dar Juan, Jasmine  Najarro, Bridget Macario, Molly O’Connor, Noah Cervantes, Nicole Murkar, Georgia Valdes

And a Special Thanks to:
All this year’s participating artists

Gallery Director/Curator:
Michele Cairella Fillmore 


Laura Terry, A Book of Maps monoprint collage with graphite  and hand-stitching

Laura Terry, A Book of Maps, 2017. Monoprint collage with graphite and hand-stitching. 24 x 36.5“ Courtesy of the artist