A graduate of the Santa Monica College of Design, Art and Architecture and the San Francisco Art Institute, Tara has been an artist in residence at Anderson Ranch Center for the Arts, Penland School of Crafts, the Santa Fe Art Institute and received a fellowship to be in residence at the Vermont Studio Center.
To grapple with the sixth mass extinction and climate breakdown, she completed a Permaculture Design Course in 2018, Fritjof Capra’s Systems Thinking course in 2019 and became part of the Earth Regenerators Study Group in 2020
Tara Daly is a Californian sculptor working in ceramics who makes paintings and textiles in material driven processes that explore power, collapse and connection. She has exhibited at the Yerba Buena Center for the Arts, the Richmond Arts Center, Contemporary Craft Center among other non-profit art centers and galleries nationally.
A graduate of the Santa Monica College of Design, Art and Architecture and the San Francisco Art Institute, Tara has been an artist in residence at Anderson Ranch Center for the Arts, Penland School of Crafts, the Santa Fe Art Institute and received a fellowship to be in residence at the Vermont Studio Center.
To grapple with the sixth mass extinction and climate breakdown, she completed a Permaculture Design Course in 2018, Fritjof Capra’s Systems Thinking course in 2019 and became part of the Earth Regenerators Study Group in 2020
Tara Daly is a Californian sculptor working in ceramics who makes paintings and textiles in material driven processes that explore power, collapse and connection. She has exhibited at the Yerba Buena Center for the Arts, the Richmond Arts Center, Contemporary Craft Center among other non-profit art centers and galleries nationally.
applied contemporary
craft gallery
@applied_contemporary
473 25th St # D, Oakland, CA 94612
Exhibition Prospectus
Playground Ceramic Exhibition aims to explore how individual artists or collaborators experience play in their studio practice. Play (verb) is defined as engaging in an activity for enjoyment. Within the studio practice play can be experienced as material experimentation, exploration of new ideas, collaboration, flow state or even just good music. We are seeking submission of ceramic work that exhibits the concept of play within your practice. Open to any artist working in ceramic sculpture or pottery.
Entry Instructions
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Non-refundable entry fee of $35 for up to 3 works.
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Artists may submit up to 2 detail images for each work
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Work must be no larger than 48" in largest dimension
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Open to US based and international artists.
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Images must be no larger 1200 pixels in the largest dimension
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Video file size must be Under 100 MB. Currently, linked media from YouTube, Vimeo, etc. is not accepted. Video must be no less than 640 x 480 and a minimum of 12 fps.
Exhibition Dates | May 6th - June 18th 2022
Submission Deadline | April 1st 2022
Artist notification | April 10th 2022
Click here to apply
Juror | Virginia Scotchie
Bio |
Virginia Scotchie is a ceramic artist and Area Head of Ceramics at the School of Visual Art and Design at the University of South Carolina in Columbia, South Carolina, USA. She received her Bachelor of Art in Sociology and Religion from UNC-Chapel Hill in North Carolina and in 1985 completed her Master of Fine Arts at Alfred University School of Ceramics in New York.
Her ceramic sculpture has been extensively exhibited throughout the United States and abroad, and has received numerous awards including the Sydney Meyer Fund International Ceramics Premiere Award from the Shepparton Museum in Victoria, Australia and most recently the SouthArts Fellowship in the Arts for 2019.
She has lectured internationally on her creative research and has worked as an Artist in Residence in Taiwan, Italy, Australia, Hungary, China, France, New Zealand and the Netherlands. Her ceramic work resides in numerous public and private collections and reviews about her work appear in many prestigious ceramic publications.
ARTIST STATEMENT |
Recent work has dealt with the relationships of whole forms to that of their components. The act of taking apart and putting back together has contributed to the accumulation of a personal library of fragmented images. My current interest is in the exploration of new forms derived from rearranging fragments of disparate dissected objects.
In some of the pieces, I have "borrowed" fragments of personal objects that have been passed on to me from a family member. Usually these are things that have only sentimental value: An old pipe of my fathers, a funnel from my mother’s kitchen an old bulb from the family Christmas tree. A recent object that falls into this category is a handmade wooden tool that was fashioned by my Italian grandfather to plant his garden. Slender and pointed with a stump of a side handle this small tool fit the hand of my grandfather and served him well. For me it not only holds visual intrigue but also a connection to my memory of him and the things he loved.
While drawn from specific sources of interpretation, the work in this exhibit is primarily abstract and formal. Form, surface and color take precedent over any perceived emotional content. While the work may trigger a visual memory of familiar objects, the viewer is encouraged to have a range of interpretations.
