Amber Aguirre:
Ceramic Sculpture
"Amber Aguirre's work combines strong emotional and intellectual content with a command of the media. It is very exciting because unlike most emerging artists, she is willing to take risks with each new piece."
Jan Peters, Owner, Del Mano Gallery, LA
Gallery
Amber Aguirre
Click on a photo to see full screen view
18"h x 9.5"w x 9.5"d
detail
13"h x 12"w x 12.5"d
back view
19.5"h x 7"w x 9"d
front view without mask
18.5h x 10"w x 8"d
7.5"h x 11.5"w x 7"d
Detail
12.5"h x 10"w x 10"d
11"h x 11" x 12"d
Purse items detail
8"h x 7"w x 18"d
19"h x 10.5"w x 11"d
9"h x 28"w x 18"d
9"h x 28'w x 18"d
15"h x 14'w x 12.5'd
15"h x 14"w x 12.5"d
11.5"h x 18"w x 6"d
17"h x 11"w x 11"d
15"H x 14"W x 14"L Winner of the 2008 Hawaii Craftsment Statewide Juried Show Award of Excellence
15"h x 14"w x 14"d
18"h x 7"w x 7"d
18'h x 7"w x 7"d
26.5"h x 8.5"w x 8.5"d
11"h x 9.5"w x 13"d
11'h x 9.5"w x 13'd
6.5"h x 10.5"w x 10.5"d
11"h x 13"w x 9.5"d
24"h x 7"w x 12"d
14"H x 11"W x 11"D
14"h x 11"w x 11"d
6.5"h x 5"w x 5"d
Statement
Through out history artists have functioned as social commentators. I see this as a sacred calling in my work. The major influence in my work is the fact that my mother is a Jewish Hungarian Holocaust survivor. Due to her experiences in the Auschwitz Concentration Camp, I was taught from a very young age the concept of Tikkun Olam. This is the Jewish call to make the world a better place. Like Richard Notkin who hoped to save the world with a teapot, I too feel that my work is my attempt at trying to save the world. Unfortunately I alsohave many issues that were passed down to me as a result of my mothers trauma. These also tend to manifest themselves in my work and one can discern my interests in exploring victimization and, terror as well as social injustice.
My view of the world is biased by my own personal experiences, but I hope to plug into experiences that many people can relate to. I am looking for the connection of the human condition that we all experience, and that often means seeing the flaws that are within all of us, or the flaws that we create in the world.
My inspiration also comes from the Funk Movement of the 1960s and 70s. I value the sense of social responsibility that they had and I apply that to our contemporary culture. The Funk Movement also embodied a humorous, confrontational and edgy attitude that you will find in my much of my work.
As I was growing up in the 1960s and 70s I became aware of Richard Notkin, Marilyn Levine and Roy Dodd who were influences in my work. Other artists who have influenced me are Esther Shimazu, Judy Fox and Viola Frey.
My visual language consists of narrative sculpture, often figurative, combined with various surface treatments. I often use a new technique that I created called "Naked Fauxku" with the raw clay texture juxtaposed against glossy glazed colors in moderation that accentuate the monochromatic nature of the clay.
Bio
In kindergarten, Amber made her first ceramic piece. It was a blue ashtray with her palm-print in it. From the moment she saw that a malleable piece of dirt could be turned into a rock hard waterproof item, she was hooked on clay.
Much later in her career (second grade) when she won the local poster contest, she knew she was destined to be an artist.
Much, much later , Amber received her Bachelor of Fine Arts degree at the University of Southern California, and then continued her education with a Masters Degree in Art Education at San Francisco State University. At that time she also received her California teaching credential and went on to teach art in the public school system. Amber taught ceramics, jewelry and drawing for many years.
When Amber and her husband Paul moved to Hawaii she left teaching and was determined to allow her creativity to flourish. She began to work on her own art in earnest with an eye towards making a full time living as an artist.Soon, her work was being featured in many Big Island galleries and she also began to enter her work in national shows. She has won awards and exhibited in many states and continues to pursue her career from her home-studio in paradise.
She is inspired by the amazing island she lives on as well as the antics of her four dogs. In addition to that, a constant supply of the "Rachael Maddow Show" keeps her on her toes. Molten earth makes her happy, whether it is clay coming out of a kiln at 2000 degrees or lava pouring from the volcano she frequently visits .
Resume
* NICHE Buyers Market of American Craft, Pennsylvania Convention Center, Philadelphia, Pennsylvania., Feb. 12th- 15th, 2010 (Qualified to exhibit as finalist)
* American Women Artists National Juried Exhibition, South Street Art Gallery, Easton, Mississippi., Oct. 10-Nov. 8th, 2009
* Small Works, John Natsoulas Gallery, Davis, CA., July 8th-Aug. 22nd, 2009
* CCACA (California Council on Education for the Ceramic Arts): 30 Ceramic Artists, John Natsoulas Gallery, Davis, CA., May 1st-3rd, 2009
* NCECA (National Council on Education for the Ceramic Arts) , Phoenix Convention, Center, Phoenix, AZ., April 7th-11th, 2009
* 41st Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts, Honolulu, Hawaii, Oct. 10th-Oct.31st, 2008
* Its a Honu World, Parker Ranch Center, Waimea, Hawaii, Sept. 19-21, 2008
* Solo Exhibition:Hot Flashes, Volcano Art Gallery, Volcano National Park, Hawaii, June 7th-July 20th, 2008
* Artists of the Big Island, Firehouse Gallery, Kamuela, Hawaii, May 2nd-30th, 2008
* Coffee, Ti or Chi? 4 artist show, Pauole Art Gallery, Holualoa, Hawaii, Oct. 25th-Dec. 31st, 2007
* 40th HawaiI Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts, Honolulu, Hawaii, Sept. 29-Oct.28th, 2007
* Kona Coffee Cultural Festival, Drawing used for official poster, t-shirt, and buttons, Kailua Kona, Hawaii, November 3rd -12th,2006
* Big Island Portrait Exhibition, East Hawaii Cultural Center, Hilo,Hawaii, August 4th -August 25th, 2006
* Ka Ho 'Ike Wa'a (the Hawaiian Canoe Art Exhibit), East Hawaii Cultural Center, Hilo,Hawaii, July 7th -July 28th, 2006
* The Art of Tea, Firehouse Gallery, Waimea, Hawaii, May 1st - 29th, 2006
* Artists of the Big Island, Annual Juried Art Show, Firehouse Gallery, Kamuela, Hawaii, May 6th-27th, 2005
* Gevalia Kona Coffee Art Exhibit, Ohana Keauhou Beach Resort, Keauhou, Hawaii,November 11th & 12th, 2005
* Hawaii Craftsmen 38th Annual State Wide Exhibition, Honolulu Academy of Arts, Honolulu, Hawaii, Oct. 6th-30th,
2005
* 16th Annual Teapot Show On the Road Again, Chiaroscuro Galleries, Chicago, Illinois, April 3rd May 15th, 2005
* War, Peace & Civil Liberties, Berkeley Art Center, Berkeley, California, Nov. 14th-Dec. 18th, 2004
* Gevalia Kona Coffee Art Exhibit, Ohana Keauhou Beach Resort, Keauhou, Hawaii, November 10th & 11th, 2004
* Self Portraits 2004, Northwest Cultural Council, Rolling Meadows, Illinois, Nov. 1st-Dec. 31st , 2004
* Hawaii Craftsmen 38th Annual State Wide Exhibition, Honolulu Academy of Arts, Honolulu, Hawaii, Oct. 7th-31st,
2004
* Fish Follies, Cordova Historical Society and Museum, Cordova, Alaska, Aug. 30th -October 31st, 2004
* Ka Ho 'Ike Wa'a (the Hawaiian Canoe Art Exhibit), East Hawaii Cultural Center, Hilo,Hawaii, July 30th -August
27th, 2004
* Mugs, Jugs and Bottles, Saratoga Clay Company, Wilton, New York,, July 15th -Sept. 6th, 2004
* 2005 Clay Lovers Calendar Show, Greensboro Artists League Gallery, Greensboro, North Carolina, June 2nd-
July 20th, 2004
* Cambridge Art Association National Prize Show, Cambridge, Massachusetts, May 4th -June 24th, 2004
* Ink and Clay 30 Exhibition, Kellogg Art Gallery, Cal Poly University, Pomona, California, January 8th -February
14th, 2004
Awards and Honors:
* NICHE Buyers Market of American Craft, Pennsylvania Convention Center, Philadelphia, Pennsylvania., Feb. 12th-15th,
2010 Finalist (awards to be presented at event)
* 41st HawaiI Craftsmen Statewide Juried Annual Exhibition, Hawaii-2008, The ONeill Award of Excellence
* Big Island Ukulele Exhibition, Hawaii-2007, Drawing chosen for the official 2007 poster
* Kona Coffee Festival, Hawaii-2006, Drawing chosen for use as the official 2006 logo on t-shirts, magazine, buttons, and
other advertising.
* Gevalia Kona Coffee Art Exhibit, Hawaii-2005
1st place, Peoples Choice Award
1st place, Juried 3-D Art
2nd place, Juried 3-D Art
* Gevalia Kona Coffee Art Exhibit, Hawaii-2004
* Fish Follies, Alaska-2004
"Most Fishy" Award
* Ink and Clay 30 Exhibition, Caliifornia-2004
Presidents Purchase Award
* Gevalia Kona Coffee Art Exhibit, Hawaii-2003
2nd place, Peoples Choice Award
Education:
* San Jose State University, San Jose, California
Masters Degree (MLIS)-1996
Teaching Credential in Library Info. Science-1996
* San Francisco State University, San Francisco, California
Masters Degree (MA)-1990
Teaching Credential in Fine Arts-1987
* University of Southern California, Los Angeles, California
Bachelor of Fine Arts Degree (BFA)-1981
Published Sources:
* Niche Magazine, Winter 2010, Niche Award Finalists p. 46
* Clay Times, Vol. 15, issue 84 Nov/Dec 2009, The Gallery p. 42
* Potters Council Calendar-Sculpture, 2010 (photo of sculpture)
* Mastering Raku, Steven Branfman, 2009, Lark Publishing Company (photo of sculpture)
* American Style Magazine, February, 2009 (photo of sculpture and award recognition)
* Hawaiian Style Magazine, Vol. 6, #1, 2009 (photo of sculpture and award recognition)
Technique
I love clay. It is a most miraculous medium and I have been fascinated with it since kindergarten when we made handprint ashtrays. But I am not media monogamous. In fact I am promiscuous with my use of different media. I will use whatever works the best for the effect I am trying to achieve.
Most of my sculptures have bases. I like to put the characters in a specific context and having a base frames them, much like a photograph. I think of each sculpture as a snapshot in time. But I dont like being boxed in, so I often have part of the sculpture break through the frame by extending beyond the base. I feel that this brings the viewer into the image and makes the experience more personal.
Pieces are sculpted in clay in different sections with some parts attached and some left separate for ease in shipping. When the sculptures are bone dry, I often apply Terra Sigilatta with various stains to some parts. I prefer this to a glaze when I am looking for a matt surface. The sculptures are then bisque fired to Cone 06.
My earlier work was low fired with a technique called Naked raku. This is a lovely process on pots and sculptural forms that have smooth curves and somewhat flat surfaces. It is far less conducive to detailed figures with their extreme angles and sharp surfaces, so it is primarily used on pottery. I loved the look so much that I used it anyway, even though it was difficult to do a raku firing on detailed and delicate sculptures. In many ways I compromised on the construction of my sculptures in order to have them be able to endure the rigors of the raku/reduction process. Another problem with raku is that the work is not vitrified and therefore very delicate. Shipping it was so problematic that even with the most attentive packing I would have breakage. This inspired me to figure out a technique that would replicate the look of Naked Raku to some degree.
The technique that I developed iI call "Naked Fauxku" because it is naked (sans glaze) yet it is a faux process that attempts to emulate the look without actually doing raku. This technique is done in an electric kiln and can be high fired. It doesnt look exactly like the traditional naked raku, but it is very similar and conveys the look that I was seeking.
After the first firing I mask off the areas that I want to have glaze accents. Then I glob a thick slip all over the piece. The slip dries and creates cracks.
I thenI take an airbrush and spray into the cracks with a mixture of black Mason Stain and Terra Sigilatta. When dry I use a metal dental pick to start to knock off the slip. I then add my cone 6 glazes where I previously masked off with tape and fire to cone 6.
Sometimes I do a third firing with a silver luster to cone 019 for some metallic accents.
Finishing involves using what ever else I need to get the look I want. Sometime I will use acrylic paint or stain. I use leather dye with graphite rubbed in to create the look of black leather when necessary. The final step is sealing some of the parts with an acrylic spray. This will make parts that have graphite so that they do not smear. Other parts I leave with a natural matt surface.
Then pieces are ready to shipped and assembled for display.
Contact
Ambersart_gmail.com
77-361 Ainanani Street
Kailua-Kona, HI 96740
808-322-9474 : home/studio
808-9373824 : cell
