The Exhibition

Patsy Cox

Romanesco Fractal in Logarithmic Spiral

Romanesco Fractal in Logarithmic Spiral

Romansesco Yellow detail

Romansesco Yellow detail

Romanesco Wall

Romanesco Wall

Romanesco Red detail

Romanesco Red detail

Romanesco Blue detail

Romanesco Blue detail

Structure, activity and growth found both in nature and the urban landscape are emulated through the use of modular units that configure to specific spaces. My installation-based works continually grow and reconfigure in subsequent manifestations. Diversity, assimilation, propagation and obsessive growth within the context of a particular place are the prominent themes explored using metaphors that allude to the mixtures of culture, race, and identity.

Romanesco Fractal in Logarithmic Spiral, began with a fascination of the Romanesco Broccoli, an edible variant of the cauliflower. This striking form found in nature presents itself as a natural fractal with each bud made up of a series of smaller buds arranged in a logarithmic spiral.  The power concentration or “syntropy” of spirals as they move inward stimulates extreme accumulation. My forms, each self-repeating, and self-similar are inspired by these growth patterns. The pure porcelain forms culminate with a burst of primary color, alluding to the idea that all colors are possible from this transformation. This is the first realization of this particular work made specifically for the CODE Exhibition at Spring Street Studios in Houston, Texas.

Brian Gillis

Giilis Origin

A photograph serves as record of a subject that forever fixes a moment in time. In many ways the image locates and archives the subject; perhaps operating simultaneously like a beacon and a surrogate. This prototype is designed to operate similarly. But, whereas photographs use light and light sensitive materials to make an image, this edition uses archival materials, digital storage media, and a GPS beacon to locate and archive information about a specific site.

Holly Hanessian

Touch in Real Time

Touch in Real Time

37_holdinghandsweb 37_round-thumbprint

The Touch in Real Time project is based on an intimate sensation in real unmediated time with another person by shaking their hand. Each handshake will contain a wet piece of clay, imprinting each participant’s hand with my own. I will hold onto their hand for 6-10 seconds, the time it takes for the bonding hormone, oxytosin to be released into our bodies.

In addition to the handshake, I will ask each person for a thumbprint using translucent porcelain which will be used later with artifact of the handshakes. There will be takeaway stickers for the participants.

In 2013, I will go to Pittsburgh to work with Dr. Greg Siegle’s lab working with alongside behavioral neurological scientists at the University of Pittsburgh. I will be the artist in residence for TREND (The Transdisciplinary Research in Emotion, Neuroscience, and Development. They will be examining the data retrieved from brain image patterns while the handshake is taking place. The project will culminate in an installation during the fall of 2013 at the Society for Contemporary Craft in their downtown One Mellon Gallery space in Pittsburgh, PA.

To date, the Fuller Craft Museum, the Society of Arts and Crafts, The San Francisco Museum of Craft and Design and the Houston Contemporary Craft Center, Houston, TX, Watershed Center for the Ceramic Arts, Edgecomb, ME and Robert MacNamara Foundation, Westport island, ME are all participating by having events at their museum or galleries.


Mia Mulvey

Mulvey_Crocodylus MoreletiiMulvey_CROCODYLUS-MORELETII-(DETAI

These small crocodiles are native to areas of Central America and are most often found in Belize, Guatemala and Mexico. Crocodiles are often called “Living fossils” because they have remained fairly unchanged since the age of the dinosaurs. These 85 skulls represent each of the 85 extinct, and extinct in the wild, species of mammals as of from the 1400’s present. Etched onto the surface are the names, Latin and general, of the many animals that comprise this ever-expanding list.

This body of work is taken from 3-dimensional prints of actual biological specimens. Replicating anatomy that is “true” and tied to a once-living, individual animal has been central to this work. These animals were X-ray CT scanned and then printed on a 3-D printer and/or CNC milled out of foam and reproduced in porcelain. The animals I have chosen to work with are all protected and thus threatened in the wild. They represent a larger population of animal species and their current status in the world. As humans, our views of these animals, and all of nature, is most often as a place “out there”, limitless and enduring. Our views are also often cluttered with romantic notions of exotic travels and attractive museum displays. Our world’s animal population is dwindling due to the fragmentation and loss of habitat from deforestation, farming, human encroachment, hunting, and climate change. These works deal with the ideas of beauty, collection, extinction, death and ultimately our relationship with nature.

Amanda Small



WithInYouWithoutYou detail

WithInYouWithoutYou detail

WithInYouWithoutYou detail

WithInYouWithoutYou detail

A.Small.CODE.4A.Small.CODE.8My current work considers perceptions of the present moment and the remote cosmos to address how we relate with and respond to the environment, and to present new ways of looking at the world around us.  My work explores the relationship between physical place and intangible experience. It emphasizes the idea that movement is an intrinsic and permanent flux existing in all things, as well as being the sign and measure of space, and time, and memory. I use patterning, layers, and repetition to point to an underlying interconnectedness and shared structure.

I am exploring the interval between the finite and infinitesimal, as well as humanity’s relationship to the universe. I create installations that combine mundane materials and ambiguous imagery that can be concurrently microscopic and stellar, conveying multiple dimensions and perspectives.  I choose to consider each piece as an “environment-system”, and part of a greater “collection” or collective experience.

In this work, I reflect on ideas of multiple worlds and the unidentified zones situated between fiction and reality and how we experience the world around us in relation to our identity, both as an individual, and as a collective.  The work symbolizes a view of the world as more vast and complex, more unpredictable and colorful, than what our comprehension, here and now, would let us know.  . These thoughts were “materialized” in the concept of infinity – described by the indefinite and complex nature of the physical world – as well as in the suggestion that a constant and eternal movement pre-exists in all things.

I am interested in the psychological connections made between tessellating patterns and symbols based on the implied meaning associated with, and by, specified collections of these patterns, maps, and symbols.

By looking with curiosity at the landscape and merging rational and technological order with notions of beauty and the transcendental, I use technological methods to visualize aspects of the natural world, taking micro and macro views of the earth, cells, satellite mapping, topographies and systematic patterning and translate that information into installations that contemplate the meaning of “home” or “place”.

Linda Sormin


Sormin_3means_Im_thirsty_5  Sormin_3means_Im_thirsty_2 Sormin_3means_Im_thirsty_1I hand-built this series in my parents’ basement last month during my mother’s recovery from heart surgery.  Knowing that she wouldn’t be able to speak for a time after the procedure, we agreed on certain signals beforehand:  1 finger means yes, 2 means no, 3 means I’m thirsty…

In the stressful hours following, my mother’s first communication was to hold up three fingers.  I remember just staring at her blankly, having forgotten our gestural code.   She has poked three fingers into each of these forms as a reminder.

John Williams

Williams Telescope 72dpiManufactured home 300dpiWilliams Telescope detail 1 72dpi

Williams uses digital fabrication techniques to create translucent porcelain relief objects of housing called lithophanes, which the artist then mounts to the end of telescopes. While the artist employs web searches and photography as part of his process, his use of an observation instrument designed to enhance our gaze actually reveals our distance from and proximity to the recent housing crisis in the U.S. By placing us in a position to view residential dwellings through a lens in the gallery, he visualizes the domestic sphere in a contemporary artistic setting.

-Maiza Hixson, Gretchen Hupfel Curator of Contemporary Art, Delaware Center for Contemporary Art

Julie York

j_york_virtualstudies 1j_york_virtualstudies2jyork_virtualstudies_detail

Utilizing digital tools and fabrication, I created a series of prints referencing ceramic shapes and forms through space and the lack of it.  My interest is in exploring how space is perceived through digital and physical interactions.


1 thought on “The Exhibition

  1. Pingback: CODE at Spring Street Studios | CODE

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