Table Top Metals
Jurored by Boris Bally
November 11 – December 24, 2006
Opening Reception November 18, 5-8pm

Regional Artists 10/21-11/15:
Stix Friedman Gallery: Andrew Denney
David and Jacqueline Charak Gallery: Michael Bauermeister

Stix Friedman Gallery 11/18-12/24:  Boris Bally Exhibition

Candle set, John B. Gilliam

This exhibition examines the various creative possibilities for artistic expression within the context of tabletop use and display. In the recent past, tabletop utensils and paraphernalia were limited by careful standards of etiquette and rules. Many of these pieces raise these standards while moving beyond the tacit boundaries of convention that have brought us here in the first place. The works selected for this exhibition address the topic in a broad spectrum, from useful to whimsical. The strongest work challenges both formal and technical plains while maintaining a good footing in the realm of the functional.

Michael T. Gleason’s, “Reverse Shaft Dessert Excavator,” is a feast for the eye as it carefully references a deco flavor with the rectangular vent holes of an architectonic element of the future. Its balance and tactile acknowledgement are apparent. Eric A. Riser’s, “Cities Plate #5,” celebrates the skyline and creates a subtle ‘urban twilight’ embossed frame giving any morsel a little extra attitude. Lynn Stanionis’, “Teaspoon Set,” allows our mouths to explore the taboo of forbidden sensuality upon licking the extra stirrings of an afternoon tea. These spoons graphically celebrate the beauty and power of woman, and of nature. John B. Gilliam’s, “Candle set,” is also a wonderful example of the seductive, rendered as geo-form ‘blobs’ with function obviously front and center. Its play on reflection and scale brings to mind an M.C. Escher print, here in the third dimension.

It is especially important that the skills employed by the metalsmith artist are able to harness a concept and allow a clear statement to be made, relevant to the show title. The underlying idea must be permitted to dominate. Jurying this show was a special treat as there were so many wonderful entries.

- Boris Bally
30 October 2005

Teaspoon Set, Lynn Stanionis	Reverse Shaft Dessert Excavator, Michael T. Gleason

"Wilderness" by Kay Kahn

Andrew Denney

My work is a celebration of issues specific to the Ritual Vessel. These vessel prototypes contain important concepts such as culture, religion, and homage. I develop meaningful connections to these ideas through elements inspired by various ancient Vessel traditions and are widely metaphorical. Raku firing my vessels accentuates the sense of ritual, ceremony, and metamorphosis the vessel and I undergo during firing.

The first person I ever saw work with clay was my grandmother, Mary Lee Denney, or to the kids, Boo Boo. When I was a young child I would spend hours watching her create beautiful ceramics angels as she talked to me about the importance of faith. A few years ago I decided to continue my family ceramic tradition of angel making in her honor. Making these angels for me has become a way to communicate with her since she as passed on. For you, I hope they are reminders of the importance of Love, Family, and Faith.

Michael Bauermeister

Wood has become my voice and my language. Over years spent making things both useful and useless out of wood the physical work of sawing, carving, turning, and polishing has become my contemplation. The real effort is in figuring out what to make next. Sometimes the wood itself makes a suggestion. Sometimes I work just to keep my hands occupied. And sometimes it all comes together into a kind of wooden poem.

Boris Bally Exhibition
Stix Friedman Gallery 
November 18 – December 24, 2006
Opening Receptions November 18, 5-8pm

Unfinished girders and poured concrete are used to build the skeletons of our cities. Glowing signage regulates our busy lives like brilliant heartbeats. Mindless movies numb our senses as the blood cells called money continue to dominate our modern lives while keeping our arteries pumping. It can all be shattered instantly into layers of meaningless rubble. However, the materials that surround us will always hold the essence of humanity and civilization regardless of their form. This body of work transforms the materials into playful tools and reflective objects of contemplation. Our hands have been trained to create new markers for the inevitable erosion of this reality.

Boris Bally’s award-winning work is both witty and innovative employing the use of jeweler’s skills on non-precious materials. This body of ‘Urban Enamel’ work transforms selected recycled street sign materials into joyful objects for reflection. These pieces celebrate raw American street-aesthetic in the form of useful objects for the home. Pieces are distinctive as signage is collected for its bold imagery and weathered patina.

Bally’s work has received two Rhode Island Council on the Arts Fellowships in Design and a Pennsylvania Council on the Arts Fellowship. His work is featured in numerous international exhibitions and publications. Public collections include London’s V&A Museum, Carnegie Museum of Art, Brooklyn Museum, Enwick Gallery and Cooper Hewitt National Design Museum.