Malcolm Wright
- Transformations into Bronze -
May 16th Fri. - 18th Sun.
Artist Reception May 16th, 6 pm - 8 pm
We are pleased to announce that Sara Japanese Pottery will present the fourth in a series of events to celebrate our 25th years anniversary.
Exhibition will feature the one of our significant artists, Malcolm Wright.
* Open Hour *
May 16th, Fri. 10 am - 8 pm Artist Reception 6pm - 8pm
May 17th, Sat. 12 pm - 6 pm
May 18th, Sun. 12 pm - 6 pm
* After the 3 days exhibition, the works will move to our private gallery space "Sara Home".
Please feel free to contact us to see his works.
To
describe Malcolm Wright. We have known each other for nearly 20
years. At his home in Marlboro, a town near Brattleboro in southern
Vermont, is his studio, a climbing kiln, his house, and a gallery space,
an extension he built several years ago. He and his wife have a
collection of modern furniture, ceramic artwork from friends, as well as
his own artwork on display.
"When you become my age, it's normal for people start getting rid of
their collection. For us, our collection keeps getting bigger and
bigger." He told me once laughing. This year, Malcolm turns 75 years
old. As a karatsu style potter, Malcolm is certainly among the principle artists in the history of American ceramic arts.
Born in Minnesota, he went to Japan in 1968 to apprentice under karatsu
master and living national treasure, Tarouemon Nakazato, the 12th
(Muan). During this time, Malcolm worked together with and became
heavily influenced by his fifth son, Takashi Nakazato. In 1970, Malcolm
returned to the U.S. and built a home and kiln in Vermont.
He continues his work in the style of karatsu, but in fact
Malcolm is a sculptor with a certain characteristic sense. His recent
works are sculptures that are also his own personal projects. In fact,
he spoke of recently working on large acrylic sculptures.
Once looking out from his window I could see clearly three tall and
narrow rocks sticking up out of the ground. "Malcolm, what is that?" I
asked. "They're rocks," he simply replied and laughed. Now exposed to
the rain and wind, moss has covered the rocks creating a beautiful
surface. To me, this is also one of his artworks.
Malcolm’s sculptures skillfully enmesh clay pieces that he puts through
an extruder. He shapes and sculpts the clay, showcasing Malcolm’s
unique characteristic style. As the process continues, he told me that
it has became more complex that even he struggles to understand its
meaning.
This show will focus on his bronze transformations, as well as some of
the original clay forms. Of the bronze models on display, some will be
at the original scale, and some will be enlarged at double the scale.
Please come and see the similarities and differences between the two
materials.
Come and see the "present" Malcolm Wright at our show.
 |
| Rhino |
 |
| Cubics Assemblage #2 |
These pieces are made from extruded parts
that are cut apart, altered and reassembled. Sometimes you can see the
original extruded and shape and sometimes not at all.
Many pieces work in more than one position there is usually more than one "right side up."
This method is slow and deliberate.
A single piece can take days, a week or a month and then crack or break in the drying or firing.
The results depend on the vagaries of the firing for color and texture.
 |
| Two Sides |
 |
| Six Ways Up |
So why am I interested in bronze?
When I began working in clay sculpture, the first pieces were glazed and
rather shiny. I was then drawn to working with the dark, porous-
appearing, rather dry, wood-fired brick clay. The bronze surface is
somewhere in between, cool and hard, but not reflective.
Bronze carries a feeling of permanence. When I arrive at a form that, to
my eye, appears mature, I have a desire to see it realized in bronze.
Bronze leads to the possibility of small editions, and varied surface
treatments. Color is variable and controllable. Finally and most
important, the visual hardness of the material works for my forms.
- quoted from " http://theturnpikeroad.com/ "
