Blog

Audrey LeGalley on Modern Insecurity, Domesticity & the Anxieties of Girlhood

Posted October 2, 2019 in Blog

 HCCC curatorial intern Grace Winburne interviewed Texas ceramist and recent HCCC resident artist Audrey LeGalley about her creation of household objects in porcelain to address issues related to anxiety, fueled by domesticity. Audrey returns to HCCC to be part of Resident Artist Talks on Saturday, October 19, 2019.

Former HCCC resident artist Audrey LeGalley in her installation, “Girlhood Scary” (2019), featured in “Ghostly Demarcations” at Blue Star Contemporary. Photo courtesy of Barbara Miñarro.

Grace Winburne: Though your pieces deal with heavy subject matter, the porcelain that you use to create your installations is delicate and fragile. Why do you choose to work with porcelain, and how do you see the material relating to your subject matter as you address the theme of domesticity?

Audrey LeGalley: The visual weight of the material isn’t directly indicative of emotional weight in this work. The emotional aspects are explored through implied fragility and anxiety that is emphasized through delicate forms. I use porcelain in my work because most viewers understand an immediate reference to its break-ability, encouraging a sense of anxiety in the viewer. I also think it’s important that the material I use is found in domestic spaces—normally, porcelain has a place in the average American home. It’s used for tile and dinnerware. I’m taking the material out of its intended purpose in the home and using it in dangerous and impractical ways, to address themes of insecurity within the home.

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Ean Escoto on Craft & Science in Jewelry Making

Posted August 9, 2019 in Blog

In the spring of 2019, HCCC intern Kelly Dolan interviewed former resident artist, Ean Escoto. As a jeweler and metalsmith, Escoto presents a new style of craft that takes the concept of jewelry into the contemporary aesthetic. Escoto, by incorporating roboticics into his designs, makes exceptional work that conveys a sense of meaning and whimsy to his audiences.

Ean Escoto working in his studio at Houston Center for Contemporary Craft. Photo courtesy of Blaize Middleton.

Kelly Dolan: You initially went to school to study bioengineering; however, you graduated with a degree in applied design for jewelry, metalsmithing, and ceramics. How has bioengineering influenced the combination of electronics and jewelry in your work, and what other influences inform your work?

Ean Escoto: I would argue that art and science are born of craft; art and science were predated by craft as disciplines while present within craft as practices. Bioengineering and craft, particularly art jewelry, both satisfy my core interests, providing people with something meaningful. Bioengineering generally seeks to enhance people’s quality of life by supporting their physical needs. Craft tends to focus on the impact of objects of daily use on people’s lives. For me, they both start with the body.

Jewelry objects are literally attached to the body as items of use or metaphorically attached as items of consideration. Most often, they serve as prostheses of identity, evoking meaning for the wearer and the viewer. I find this platform for expression really great for the types of engagement I would like to have with others.

Science and engineering have greatly informed my approach to living with appreciation and curiosity. Science is a formalization of the fact that the natural world will answer any question you ask it. The challenge of science is in the difficulty of understanding what you actually want to ask, learning how to phrase it, and interpreting the answer you receive. The glory of science is that the answers we receive spawn even better questions. It really seems like the universe will never run out of wonder. Engineering provides a powerful set of problem-solving tools. The basic idea is to break a problem into smaller parts that you either understand or don’t understand. You solve the parts you understand, quantify what you don’t understand, and use that information to find or create resources which will allow the problem to be solved.

When I make jewelry, I apply the tools I have to solve the problems I am interested in. The initial motivation behind introducing electronics to my practice was to make objects activate people’s theory of mind. I wanted people to consider what the object is thinking. This ability to consider the thoughts of another is worth celebrating. Leveraging this experience is a powerful tool for getting people to engage in the other types of experiences I am trying to promote. Continue Reading »

Antonius-Tin Bui & Tonya Huynh on “Queer(ing) the Wheel”

Posted March 21, 2019 in Blog

“Queer(ing) the Wheel,” presented on February 21, 2019, at Houston Center for Contemporary Craft, was the brainchild of resident artist Antonius-Tin Bui and collaborator Tonya Hyunh. Inspired by the historic Playhouse Theater located next door to HCCC on Main Street, this performance harnessed the concept of the immersive “theater-in-the-round” to engage audiences in an exploration of queer identity and mobility in Houston. On the 68th anniversary of the Theater’s opening night, the event featured Antonius-Tin Bui (performance and craft), Emilý Æyer (sound and performance), S Rodriguez (sound and interactive performance, queer sci-fi literature), Devin Kenny (multidisciplinary sculpture), Junior Fernandez (photography), Post Modern Sleaze (performance), and Duke Diesel (performance). HCCC Curatorial Fellow María-Elisa Heg interviewed Bui and Hyunh to learn more about what inspired this project and its significance to the queer community.

Kumquat performing in “Queer(ing) the Wheel.” Photo by Antonius-Tin Bui

María-Elisa Heg: Tell us a little bit about how this performance came about and how you first encountered the Playhouse Theater.

Antonius-Tin Bui & Tonya Huynh: What does the archive mean in the 21st century? Who has access to archives? Who is in charge of defining the mission and intentions of an archive? Who is forgotten and erased from the archives?

This performance seems to be the physical manifestation of our ongoing conversations around queerness, liminality, and archives. We were also inspired by Guy Debord’s concept of psychogeography, the study of a geographic environment’s impact on the emotions and behaviors of an individual. Psychogeography calls for the dissolution between art and life through playful strategies that take community members off their usual paths, bringing forth new awareness of the landscape.

MH: At the time of its inaugural performance on February 21, 1951, the Playhouse was one of the largest theaters-in-the-round in the nation. However, it only operated for two years before shutting down due to lack of funds. The ambitious scale and tragically short life of the Playhouse Theater make for interesting reading, but what is it particularly about the Playhouse’s history that inspired you to create your unique variation on the concept of theater-in-the-round?

AB & TH: José Esteban Muñoz defines queerness as a horizon of being that can be glimpsed in utopian bonds, affiliations, designs, and gestures that exist within the present. This includes art, writing, political protest, performance, public sex, and theater.

As queer artists of color, we saw parallels between the ever-changing lives of Playhouse Theater and the horizons of queerness. Even though Playhouse Theater only operated for two years, it took on multiple lives after being shut down, later becoming Academy Theater, as well as the National African American Museum. Both queerness and the Playhouse Theater continue to evolve.

On a starker note, we saw the similarities between the careers of artists and Playhouse Theater. Artists will continuously be displaced and forgotten if we are not properly valued and compensated for the work that we do. Continue Reading »

Aram Han Sifuentes on the Protest Banner Lending Library

Posted December 20, 2018 in Blog, Case Study

Aram Han Sifuentes with a banner from her “Protest Banner Lending Library.” Photo by Virginia Harold.

On view in the Case Study Space through January, 2019, HCCC presents a banner from Chicago-based artist and activist Aram Han Sifuentes’ “Protest Banner Lending Library.” Developed in response to the 2016 presidential election, the “Protest Banner Lending Library (PBLL)” provides a safe outlet for individuals to address their concerns about current socio-political issues by organizing protest banner workshops and allowing individuals to check out the banners made from the workshops. HCCC Curator Kathryn Hall interviewed Aram about this project and how she would like to see it move forward.

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B. Anele Fashion Show Recap

Posted August 24, 2018 in Blog

Photo of wearable art pieces by B. Anele (2018). Photo courtesy of Ryan Francisco.

HCCC Curatorial Intern Cyd Pickens had the opportunity to go behind the scenes for B. Anele’s “I Don’t Play That Game” fashion show and wearable art exhibition, which took place at the Houston Center for Contemporary Craft on Thursday, August 2nd. Read on for a full recap. 

On Thursday, August 2nd, B. Anele revealed 10 new fashion designs in a show titled, “B. Anele: I Don’t Play That Game.” Much like B’s other works, these pieces use natural fabrics such as canvas and cotton, which are painted with vibrant acrylic paints. Four of the 10 pieces are oversized white cotton t-shirts, all representing different segments of the same painting. Continue Reading »

Hiromi Iyoda’s Ceramic Circus

Posted August 9, 2018 in Blog

Hiromi Iyoda working in her studio at Houston Center for Contemporary Craft. Photo by HCCC.

Hiromi Iyoda is an artist who works primarily with ceramics. She began studying ceramics at Saddleback Community College in Mission Viejo, California then received her BFA from California State University of Long Beach and her MFA from University of Nebraska-Lincoln. Growing up in Japan, much of Hiromi’s work is inspired by stories of her childhood. The characters of her “ceramic circus” relate not only to the real life characters of Hiromi’s life, but also resemble popular Japanese cartoons. While she was in residence at Houston Center for Contemporary Craft, Hiromi evolved her artistic style in many ways, experimenting with different color combinations and introducing fibers in her ceramic sculptures. This summer, HCCC Curatorial Intern Cydney Pickens had the chance to ask Hiromi a few questions about her artworks and the inspiration behind them.

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Inside Environmental Art
with Molly Koehn

Posted July 27, 2018 in Blog

Photo of Molly Koehn with her installation in the exhibition, “Chromatic Drift” (2018), at Texas A&M International University Art Gallery. Photo by Sarah Darro.

This summer, HCCC Curatorial Intern Cydney Pickens is interviewing some of the artists featured in HCCC’s Artist Residency Program Project Space. She recently spoke with environmental artist and former resident, Molly Koehn. Read on to discover how patterns of human nature and the Gaia Theory influence Koehn’s work.

For my first interview with a resident artist here at the Houston Center for Contemporary Craft, I had the pleasure of interviewing environmental artist Molly Koehn. As HCCC’s curatorial intern, part of my duty is to study the artworks beyond what meets the eye. I met with Molly at her studio with the intention of getting to know more about her work and the thought process behind it. Continue Reading »

LIVIA MARIN ON SURREALIST AESTHETICS, THE GLOBAL HISTORY OF BLUE & WHITE CERAMICS, AND THE MULTIPLICATION OF OBJECTS IN LATE-STAGE CAPITALISM

Posted May 2, 2018 in Blog, Case Study

Livia Marin, “Nomad Patterns,” 2012. Ceramic, resin, plaster, transfer print. Thirty-two pieces in series. Photo courtesy of artist.

HCCC Curatorial Fellow Sarah Darro recently asked Livia Marin a few questions about the processes and inspiration behind her work. Livia is featured in HCCC’s Case Study Space and is presented in conjunction with the recent exhibition, Treachery of Material: The Surrealist Impulse in Craft. Continue Reading »

THANK YOU!

Posted January 26, 2018 in Blog

It goes without saying that 2017 was a remarkable year for Houston. From Hurricane Harvey to the Astros winning the World Series, it was an historic year, without mentioning the highs and lows for the nation as a whole. Here, at Houston Center for Contemporary Craft, we look back on last year with equal parts elation and wistfulness, but most of all with gratitude to you, our many supporters, collaborators, visitors, and enthusiasts.

Thank you to everyone—individuals and organizations included—who provided support to HCCC last year. Your contributions have been invaluable to our efforts, and, with your help, we continue to make Houston among the most exciting places for contemporary craft in the country. In particular, we wish to thank everyone who contributed to our recent annual fund.  A gift to the Houston Center for Contemporary Craft—whether made as part of last year’s drive or today—ensures our ability to support the work of contemporary craftspeople and make accessible their work to all audiences.

In 2017, We opened 11 exhibitions, with shows ranging from celebrations of the best of contemporary craft, such as Edward Eberle Retrospective or Storyline: The Contemporary Quilt, to those that pushed the definition of craft, including For Hire: Contemporary Sign Painting in America and The Sound of Things. Exhibitions like United by Hand: Work and Service by Alicia Dietz, Drew Cameron, and Ehren Tool and Annie Evelyn: Multiple Impressions encouraged visitors to get involved, or even get in touch, with the art on view. We expanded our educational programming, bringing fresh energy to our monthly Hands-on Houston programs; initiated Craft Social, a new evening program for visitors of all ages; and reintroduced a series of master workshops in disciplines such as life drawing and contemporary calligraphy. And, we welcomed many wonderful resident artists from across the country, even as we had to say goodbye to some of the previous artists, with whom we had grown close.

Last year was filled with exciting developments at HCCC, and 2018 promises more of the same. Expect to see the Center continue to challenge and inspire through exhibitions, programs, and events. This year will see the implementation of the first initiatives of our new strategic plan, written in 2017 to guide our growth over the next three years. If you haven’t been to the Center in a while, I hope you will join us and experience the exciting work we are doing. We remain open and free to the public, and we encourage everyone to experience craft in a novel way.

Please join us for our Winter/Spring Opening Reception on Friday, February 9, 5:30 – 8:00 PM.  We’ll be celebrating our upcoming exhibitions,  Light Charmer: Neon and Plasma in Action, with live performances in the Main Galleries, and Treachery of Material: The Surrealist Impulse in Craft, in the Artist Hall.  The evening will also feature open studios by the current resident artists.

In the meantime, we’d love to get your feedback in this brief survey, to hear what you like best about HCCC, how you would like to hear from us (and how often), and any other comments you may have that could help us to better serve your needs and interests. The survey will take less than five minutes to complete, and you’ll have the opportunity to enter a drawing to receive a $50 gift certificate from Asher Gallery.

Thanks again for your support, and we look forward to seeing you soon!

—Perry Allen Price, Executive Director

THANKS TO YOU

Posted October 11, 2017 in Blog

I don’t know about you, but this fall, I am particularly grateful to be part of the greater arts community of Houston. The cumulative effect of the recent disasters and tragedies has been traumatic, upending the lives of friends, families, and colleagues across the region, the country, and abroad. I have taken solace, however, from the experience here in Houston of a community that comes together in support of one another. Your support of Houston Center for Contemporary Craft is no different. Continue Reading »