New Propaganda: A Review

We were so impressed by the senior fine arts exhibition, "New Propaganda," at Armstrong State University, that we wanted to invite one of our artists, Jessica Broad, to write a review of the show. If you didn't have the opportunity to visit the gallery during the month of November, here are some thoughts and images from the exhibition. 

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​The work of Ashley Havy and Stephanie Sanders was recently on view in the New Propaganda show (November 9 –November 30) in the Fine Arts gallery at Armstrong State University. The show included pieces from 9 students, but this review will concentrate on the ceramics included in the show.

The work covered a wide range of techniques and subject matters, but both artists had their own distinctive and easily recognizable style. Sanders’ work was mostly done in porcelain with very fine details, while Havy’s work was mostly done in stoneware clays and focused on functional forms with botanical themes. Many of the pieces showed an impressive level of sophistication for an undergraduate exhibition. Some of the work was stronger than the rest. ​​​

New Propaganda senior art exhibition poster

For Sanders, the two standout works were Harmony in Nature and Innovation and the group of sculptures with the titles Centered, Lean and Collapse, Well Rounded, Avoiding Extremes, and From All Sides.

Stephanie Sanders, from left to right: "Centered," porcelain; "Lean and Collapse," porcelain; "Well Rounded," porcelain; "Avoiding Extremes," earthenware clay; "From All Sides," porcelain.

Though the series of sculptures were given separate titles, they function best as a group, and would not be as interesting viewed individually.  Together the give a feeling of dancing and spinning that would not be as pronounced if they were separated. The graduation in height of the pieces, and variety of textures on the surfaces, are balanced by the unity of the tall thin forms.  I was particularly attracted to the texture of Well Rounded, which reminded me of the surface of a Tom Kerrigan sculpture inspired by the desert.

Stephanie Sanders, "Harmony in Nature and Innovation," porcelain, hand built.

Stephanie Sanders, "Balance," smooth raku clay, hand built.

Harmony in Nature and Innovation is a virtuoso display of modeling skills.  The minute details on every tile held my interest for a long time. I would think I had found all the different textures and objects represented only to notice a new one. The piece has the form of an exercise for a design class, but the level of detail and skill shown raise it well above its humble beginnings.

Also worth mentioning would be Balance which shows a very sensitive understanding of human form and movement. It shows the weight and volume of the foot very well, and like her other work captures the minute surface textures.  What makes clay begin to feel like flesh is the sensitive rendering of the folds in the skin.

For Havy, the standout pieces were a series of three stoneware vases titled Field of Flowers, Flowers Everywhere, and A Vase of Flowers. These pieces function well as a group, which the artist recognized in placing them together, but they also would work well on their own.

Of this group the one that attracted me the most was Flowers Everywhere.  The contrast of the lighter decoration on the black clay body made it more unique than its lighter colored cousins.  The style of the decoration, which is reminiscent of Art Nouveau floral patterns, was arranged in a way that compliments the form of the vase, and leads the viewer’s eye from top to bottom, and around the piece.  The form itself is rather static, but the decoration gives it a sense of implied movement that makes it feel much more lively.

Ashley Havy, "Flowers Everywhere," Black Mountain clay, wheel thrown.

The tall narrow form of Vase of Flowers is decorated with a botanical pattern that seems to be influenced by Japanese designs.  Like on Flowers Everywhere, the pattern adds a sense of movement to a rather static form.  The black lines that are incised into the pot add a nice contrast to the lighter background. 

Ashley Havy, "A Vase of Flowers," raku clay and mid-range glaze, wheel thrown.

Ashley Havy, "A Field of Flowers," raku clay with high fire glazes, wheel thrown.

Field of Flowers has more of a standard European feel to the decoration, which again fits well around the form.  This form, with its swollen center, has that feeling of something breathing in, typical of this type of shape.  It makes the object itself feel more alive than the other two, which is good because the decoration is more static.  If the pot itself had been straighter on the sides, the decoration would not have worked as well.

​With these seemingly disparate descriptions of Havy’s vases, they all work together well because of the similarities in the sensibility of the decoration.
 
In all, it was very exciting to see such well crafted and carefully considered undergraduate work together in one show here in Savannah.  I hope this is an indication of a strong future for ceramics in our community.

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Jessica Broad is a ceramic artist and a professor of ceramics and foundations at the Savannah College of Art and Design. To view more information, visit her profile under the "Artists" page.

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