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Upcoming Events

  • Jul 5
    First Thursday Street Gallery Jul 05 @NW Portland
  • Oct 13
    Portland Open Studios Oct 13 to Oct 14
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    Portland Open Studios Oct 20 to Oct 21

Today’s Events

  • Aug 3
    Heartbreak City Aug 03 to Sep 30 @Redux Gallery
  • Aug 28
    Gabriel Liston and Kevin Kadar Aug 28 to Sep 29 @Froelick Gallery
  • Aug 30
    Michele Collier, Michael Vos, Penda Diakité, Andy Kennedy Aug 30 to Sep 23 @Guardino Gallery
  • Sep 2
    30th Anniversary Exhibition September Edition Sep 02 to Sep 29 @Butters Gallery
  • Sep 4
    Hands in Water Sep 04 to Sep 30 @Waterstone Gallery
  • Sep 5
    Summer's End Showcase Sep 05 to Sep 30 @Gallery 903
  • Sep 5
    Rita Alves & Monica Mitchell Sep 05 to Sep 30 @Blackfish Gallery
  • Sep 5
    Naomi Shigeta & Sarah Siestreem Sep 05 to Sep 29 @Augen Gallery
  • Sep 5
    Wayne Miller: World War II Photographs Sep 05 to Sep 29 @Charles A. Hartman Fine Art
  • Sep 5
    Lisa Jarrett, Melanie Stevens Sep 05 to Sep 29 @Russo Lee Gallery


Danny Crump, Ceramic artist

Studied in porcelain in China, functional and sculptural ceramics
I choose to use clay as medium because of its intrinsic ability to change. While it can take on any form in its raw state, its fired form is permanent. This permanence of ceramics does not occur in nature, but is brought to us by our own human process. This clay material ties us to our own history through objects and artifacts. It brings associations of other cultures and exists in our contemporary society. My inquiry of making sculpture through the ceramic process questions this permanence and fragility. I construct these objects using the mass and gravity of clay to form structures with visual harmonies and strong material dissonance- something, perhaps between wood and steel. I form objects of made of simple fireclay, available from the masonry shop, feldspar, and iron bearing clays that are cheap and available from clay suppliers The clays are blended to different colors and are formed with slabs to create teetering structures, or large solid slabs. The softness of the clay is balanced between its structural capability of supporting the weight above it. This gravity is sometimes disturbed mid-construction by rotating the piece in a different orientation. This physical jumbling (and sometimes collapse) metaphorically recalls my own confusion with culture. With regards to the technological interface of today's virtual world, firing my work in a wood kiln is not just practical, but an essential reminder of our own gravity.