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Since mid-March 2020, Ive been making and glazing my ceramic works at home, a dusty, messy thing to do. This necessitates transporting work back and forth to the kiln in fragile greenware or raw glazed state.  I now do this by subway (I was previously able to score a ride every month or so). Im now adept at the finer points of moving fragile clay work around in shopping bags.

Developing the surface and coloration begins while a piece is still wet

By twisting, folding and pinching the hollow tubes, D’Arrigo knowingly occupies a territory first opened up by George E. Ohr, “The Mad Potter of Biloxi,” who has also been an inspiration for Ken Price and Kathy Butterly.

These small, intense things create a menagerie of the little and imaginary, of objects that evoke wonder  and its twin, curiosity.

Delightfully bodied and splendidly decked out in glazes of many colors, the 20 new ceramic works in Elisa D’Arrigo’s current exhibition (on view through October 21, 2023) make their presence emphatically felt despite the modesty of their measurements.

My work has evolved in a circular manner, with an ongoing re-working, re-visiting and re-imagining of forms and processes.

Pilar Agüero-Esparza, 2022 Photo courtesy Pilar Agüero-Esparza Claiming Space: Refiguring the Body in Landscape About The large-scale painted and woven canvas tapestry mural by Pilar Agüero-Esparza, brings together the power of the hand-made, references to the body through skin color and prismatic color found in the landscape. While juxtaposing ideas related to social hierarchies and […]

Pilar Aguero-Esparza’s Ferguson 7: Sepia and Mahogany (2017), crayon, color pencil on paper, is a simple yet powerful image of resistance.