History in the Making: Renwick Craft Invitational 2011

Ubaldo Vitali

Artist Statement on Process

The intentions and work of the sculptor are to create forms that interact with space. My aim is to "fine-tune" silver's surfaces and reflections as a means of communication. My work follows three stages. I start with the primo pensiero, or "first thought." I try to distill the original idea to extract its essence, a process that begins by investigating and nourishing the form in a two- dimensional way with sketches. I usually refrain from executing a finished drawing, since I believe it can "suffocate" the idea. 

In the second stage, I transfer the idea into a three-dimensional model, or bozzetto, to explore the interactions of function with form, and form with space. To create the model, I use any possible material, such as clay, wax, wood, paper or other easily shaped substance to maintain the idea in a state of flux, fluid and unrestricted. 

In the final stage, the idea is transformed into silver. From sinking or raising by hammer, from casting, to chasing, to soldering I try to blend and merge each technique accordingly, since each of these choices, whether a tool or process, determines the final result. At this stage the silver becomes an active participant; I must not just dictate to the metal but listen to it. Tools, fire, and my hands are how we communicate. 

Ubaldo Vitali
Tureen
2001, silver and sodalite

Collection of the artist

Ubaldo Vitali
Tureen (detail)
2001, silver and sodalite

Collection of the artist

Ubaldo Vitali
25th Anniversary Tea and Coffee Service
2004, silver and glass (glass by Leonard DiNardo)

Collection of Janet and Ricardo Zapata

Ubaldo Vitali
Singerie Candlestick
about 1976, silver 

Collection of artist

Ubaldo Vitali
Triple Wave Pitcher
1999, silver and ebony

Collection of the artist

Cliff Lee

Artist Statement on Process

I start by mixing the porcelain according to my own formula, which is a combination of minerals from the earth. This formula makes a strong bond with the monochrome glazes that I use. To form a vessel, I work on a potter's wheel, applying to or altering the shape in order to achieve a desired form. It is then set aside to become leather-hard so I can turn it upside down to trim the bottom. This completes the desired form. At this time I can carve a design into it, using tools that I make out of hacksaw blades. When the vessel is completely dry, I bisque fire it in an electric kiln. 

Next I apply the glaze. I choose one of the monochrome glazes that I mix using various chemicals. I spray the glaze onto the bisque ware to the desired thickness. I fire the vessels for thirty-six hours in a gas kiln, waiting a week to open the kiln and see if it's a good firing. Often 50 percent of the work will not turn out the way I hoped for.

Cliff Lee
Lychee Nut Urn
2010, porcelain, lava glaze 

Collection of the artist

Cliff Lee
Lychee Nut Urn (detail)
2010, porcelain, lava glaze 

Collection of the artist

Cliff Lee
Double Dragon on Cloud Pedestal
2009, porcelain, celadon glaze, rubies

Collection of the artist

Cliff Lee
Double Dragon on Cloud Pedestal (detail)
2009, porcelain, celadon glaze, rubies

Collection of the artist

Cliff Lee
Teardrop (left)
2000, porcelain, guan glaze, india ink 
Courtesy of Marilyn and Irwin Scher

Cliff Lee
Guan-ware Vase (right)
1994, porcelain, guan glaze, india ink
Smithsonian American Art Museum
Gift of Carol and Bill Wright in memory of Dr. Edward L. Katz, 2010.36.5

Cliff Lee
Teardrop 
2001, porcelain, imperial yellow glaze
2001, porcelain, oxblood glaze
2004, porcelain, chun blue glaze

Collection of the artist

Cliff Lee
Prickly Melons (short and tall)
2008, porcelain, imperial yellow glaze 

Collection of the artist

Judith Schaechter

Artist Statement on Process

I use a material called flash glass, a type of glass with a paper-thin veneer of intense color on a base layer of lighter color. First, I cut the glass using a steel wheel cutter and a grozing, or running pliers. Next, I sandblast the pieces, which allows me to remove the colored layer in stages to get patterns and tones. After sand blasting, I engrave smaller details using a flexible shaft engraver. I also use diamond files to make smooth variations in the color.

The only paint I use is black vitreous paint, which fires onto glass at 1212F. I usually do 2-5 firings, as that is the best way to get rich blacks and grays. Sometimes I also use silver stain, a pigment of silver oxide that fires onto glass a transparent yellow. I get a little additional color with thin washes of transparent oil paint. This is all the paint I use---all the other color is the flash glass. After the firings are all done, I then assemble the window, joining individual pieces of flash glass using copper foil and solder. To create the rich range of colors in each section of my pictures I layer the flash glass---sometimes up to five pieces deep. The finished window is installed in a lightbox.

Judith Schaechter
The Floor
2006, glass

Collection of Claire Oliver and Ian Rubinstein

Judith Schaechter
A Little Torcher
1990, glass 

Smithsonian American Art Museum

Gift of the James Renwick Alliance and museum purchase through the Smithsonian Institution Collections Acquisition Program, 1991.83

Judith Schaechter
John Fletcher Hamlin Is No More
2003, glass 

Collection of Dr. David Mittleman and Mr. Hugh Glatts

Judith Schaechter
My One Desire
2007, glass

Collection of Todd Alios VonBastiaans

Judith Schaechter
Widow
2008, glass

Collection of Colleen and John Kotelly

Matthias Pliessnig

Artist Statement on Process

Throughout my education and still now, I have been searching for a balance of technology, art, design, and craft. I begin most ideas in a sketchbook, thinking about the person(s) interacting with the piece. These sketches are translated into the computer using powerful 3-D modeling software where I build virtual models of my ideas. I become familiar with the geometries and build a mold using the information from the computer model. The mold comprises cross-section profiles necessary to understanding the flow of my desired form. I mill strips of wood from rough lumber, which are then placed in a steam-filled pipe to make the wood malleable. After fifteen minutes I quickly take the wood out, with about thirty seconds to bend the strip atop the mold to create a skeletal structure. The wood still has rules, although it's pliable and intuition is needed. After the first piece is bent into place, each following piece is a reaction to the first bend, creating a fluent conversation. Once the wood is dry, each intersection is glued. The entire piece is sanded and a clear coat of finish is applied.

Matthias Pliessnig
Amada 
2010, white oak, birch

Private collection

Matthias Pliessnig
Bends
2006, white oak

Courtesy of Lewis Wexler, Wexler Gallery, Philadelphia

Matthias Pliessnig
Thonet No. 18
2007, white oak and Thonet No. 18 café chair

Courtesy of Lewis Wexler, Wexler Gallery, Philadelphia

Matthias Pliessnig
Waive
2007, white oak

Collection of Lorraine W. Hilleman

Matthias Pliessnig
Drift
2010, computer drawing

Collection of the artist

Matthias Pliessnig
Artist Sketch
2010, bound paper

Collection of the artist