Phyllis Kudder Sullivan: Earlier works
This November we are pleased to welcome back Phyllis Kudder Sullivan to our main gallery space with "Vortex with Gold Line Series". The last time we had the honor of exhibiting Sullivan was in 2011 and celebration of the new collection we decided to take a look back
Using white stoneware clay, she interlaces coils together in a singular and self-contained form. In the Vortices series, Kudder Sullivan continues the inward-looking theme of world-within-worlds through an architectural approach to the vessel. She explores the subtle nuances of the hidden, hollow, inner space, a requisite characteristic of both the clay vessel and architecture. The technique of interlacing allows her to address issues of fragility and strength, density and porosity; and convey the concept of containment while blurring the boundaries between in and out.
The winner of the Medaille d’Or for Sculpture in the XIV Biennale Internationale de Ceramique d’Art in Vallauris, France, Phyllis Kudder Sullivan was also awarded an Honorable Mention in the 4th World Ceramic Biennale 2007 in Korea. She has been the recipient of artist-in-residence grants in Japan, Turkey and China, and in the United States. Since 2004, Kudder Sullivan has served on the Advisory Board for Watershed Center for the Ceramic Arts.
Phyllis Kudder Sullivan, a resident of Brooklyn, NY, has exhibited her ceramic sculpture in one-person and group exhibitions in galleries and museums throughout the U.S. and internationally. She won the Medaille d’Or for Sculpture in the XIV Biennale Internationale de Ceramique d’Art in Vallauris, France, and was awarded an Honorable Mention in the 4th World Ceramic Biennale 2007 in Korea. Her work has been reviewed by The New York Times and has appeared in numerous articles and books, most recently, 500 Ceramic Sculptures, by Glen Brown, Ph.D
Sullivan has been the recipient of artist-in-residence grants in Japan, Turkey and China, as well as, the U.S. Since 2004, Kudder Sullivan has served on the Advisory Board for Watershed Center for the Ceramic Arts. She is a Professor of Art at Long Island University – C.W. Post Campus.
by Editorial
This artist creates works because he is born, but also because she says there's a voice inside that compels him to make him happy and obey that call, it feels good to be a subject of creativity, as well maintains an obsession with beauty. So declared, Miguel Millo, photographer by profession, referring to his latest exhibition entitled Origins.
This collection represents intangible things. Time, Clarity, Identity, Power, and Everything. I am examining them in fragments or basic components to create a tangible understanding.
contemporary artist graphic design graduate from the Universidad Iberoamericana in Tijuana , Baja California, Mexico .
One can say that the naked bodies are blank canvases that the artist alters with clay and pigments, roots, leaves, flowers and fruits. This gives life to his final work, through the masterful handling of light and shadow that give volume and movement to the creation captured through his magic eye stopping time in a unique and unrepeatable moment.
s”, makes me reunite with the essence of mankind, with the intimate moment in which human nature converges in a deep dialog with the entrails of earth.
bserve and witness our own existence.
as trained as an architect had developed this form of bend woods gluing them together using a hot melt glue gun and then covering them with paper that has been saturated with white glue the moment I saw one I was immediately attracted to it.
very interesting patterns.
nature and surly I will have exhausted them and then I will move on to something else. And I found that to be actually the opposite that the more I apply myself to this art form the more ideas I have that I want to explore I have more ideas than I have time to apply myself to, but I think that is probably what defines an art form is there is always more to do more inspiration then one can possibly accomplish
versus trophies, i.e. "I shot this lion in Africa." Walter Potter was a very famous Victorian taxidermist, you might have seen his work. He does the kitten weddings or a doll house full of doll house furniture and taxidermy mice having dinner together. They are sort of horrible and cute at the same time. Back during that era, taxidermist would build their own forms. That's where the term "stuffing" comes from. When you would see a piece that's finished, there would actually be some bones inside that were wrapped with twine and there would actually be cotton batting stuffed in there. The twine is called "Excelsior" it's kind of like a raffia, that you can make volume with, and that's what would be in here.
the hide so that it's wet and stretchable and then I sew the hide up over the form and then making the face look life like. When you see the nose is shiny, the eyes are shiny, and it looks alive this is all paint and epoxy, so it is different treatments that are put on there to make something dead look alive. The eyes are glass. A lot of the musculature you see, like the veins and the movement around the eyes is clay that I've molded and modeled it so there's actually some sculpting that's happening to make the face look real. So really when you see a piece of taxidermy the only thing that's real if the hide itself and then antlers or horns and even sometimes those are fake because some times they are not legal to have. So often times taxidermists will use an epoxy or resin mold to make them. So when you are looking at this taxidermy, that's what you are looking at.
Going back to Walter Potter in the Victorian era who did like the kitten weddings- there's been a movement with taxidermy in the last maybe ten or fifteen years in the US and across the world in London and Iceland- there are people who are doing what I'm doing and sort of making taxidermy strange and using it in art in some way whether it's individual pieces or whether it's full installations like this and most of us are women. It's funny, I'd say like eighty percent are women. So it's kind of a Feminization of a traditionally male genre. And very often the training for taxidermy was kind of a "good ol' boys" club. It was very hard for women to even get information about it and even sometimes the "good ol' boys" wouldn't give the other "good ol' boys" the trade secrets. and it's kind of opened up recently which was lucky for me.
The way that all of this started was my background was actually in writing. I write mostly poetry and I also teach literature. For a brief time I owned an art gallery in downtown LA and I've always been interested in assemblage artists, like Keinholz and Ruaschenberg and their ilk. And so I started showing a lot of contemporary assemblage artists in my gallery. I had this idea of this idea of sort of visual poems, little narratives in cages and that's where the "Canary Suicides" started and I started showing them and making them and showing them in my gallery. The idea of the "Canary Suicides" is that we are all in our own cages literally or metaphorically and that we are miserable there and so we kill ourselves in some way even if we are not actually killing ourselves, we make our lives miserable. The canaries are embodying this, literally. They've killed themselves in their cages and they always leave a note of some kind, they always have money hidden somewhere, and because they are hypocrites like us, they also have a pet that's in some kind of a cage they can't get out. They are kind of fun to look at and find the clues of what's going on and all of them you can figure out, kind of by
This one on the wall is called pour one out. The frame is actually made by a gentleman in Tacoma,Washington that I found at an estate sale. And he would take animal hides, this one I think a beaver, and trace them and make these frames out of the tracings on wood. They are just sort of weird, and I painted it gold. I found this piece with the boy with the bird in a vintage store here and I added a little gang tattoo on his face because he is pouring one out for his homies because I don't think the baby birds are excited about the way he is holding the mama bird.
Catherine Coan is an artist, hybrid taxidermist, writer, and professor living in Los Angeles. She was a judge on the AMC TV series Immortalized.
constructing the window itself out of wood and interjecting digital images on canvas, which he then paints over. This multi-layered technique lends itself to Phil’s greater message of embracing past, present and future.
Phil Kho received his BA in visual communication at Hong Ik University in Seoul, Korea; his MFA in graphic design from California State University, Los Angeles; and his MS in visual communication at Pratt School of Art and Design in New York. He spent eight years as a professor of design in the fine arts department at the University of Suwon in Seoul. Kho has been an urban designer for over 20 years and an artist for over 50 years. He has written 10 books and dozens of articles on urban design. He currently resides and works in Koreatown.
Catherine Coan was a huge hit at the 2016 L.A. Art Show in downtown Los Angeles -making it into many popular best of lists. A few years before she had made a huge splash as an Official Selection at the 2011 South by Southwest film festival with a short "The Canary Suicides" featuring her artwork. In 2012, the Canary Suicides was on display at the Lois Lambert Gallery. We are thrilled to welcome her back after such an amazing run at the L.A. Art Show and excited to showcase her new work.
the avant-garde work produced in Havana