The catalyst for my art is mythology, the common experience of a
people told in story, song, dance and image, the variations of this
experience from culture to culture, and its recurring archetypal
theme that we all share. Although I work in paint and clay, my
creative vision begins in story, how the telling of then is truly
speaking of now, and how the telling is a shared one from
peoples to peoples and heart to heart. The image emerges
from the telling of the tale.
My work in clay is figurative in form, realistic but stylized, the
imagery mythic in theme and narrative in content. The source
influences of my aesthetic iconography have three interwoven
strands: tales from my family’s Celtic heritage, told by my
grandmothers, of the other-worldly Siadh, the fey fairy folk of the
British Isles, of their enchanted lands within the Hollow Hills,
and especially stories of the crafty, mischievous Phookas,
fey who could shape-shift into cat, dog, horse or even human
being. These were the favorite friends of my childhood, my wild
things, boisterous, rowdy, and even a little dangerous.
Of the six work samples included here, the first four come directly
from the Celtic tradition: Woman with Eyes in Her Hair, Horse
Phooka, Oak King’s Son and The Shy Griffin. These four figures
are part of a larger work in progress depicting magical elders
who open their story circle to a human storyteller in order to share
their wisdom and warnings. When complete, the work will
comprise nine figures, seated on daises of varying heights,
facing each other.
During my university studies, I began a scholarly search
for the Lost Sacred Feminine, that female face and divine aspect
of the great mystery. I would discover traces and transformations
of the goddess in story and image in every land and culture.
The female figures in my work are interpretations of Her many
manifestations. Since one of her most frequent titles is Lady
Unique: Mistress of the Wild Things, in my work She is often
accompanied by Phookas of various forms. In the Cassandra’s
Question (Goddess Figure with Phooka), and Lady Kitsune-Hime
and Her Friends (Asian Goddess Figure with Phooka).
The works submitted here were originally constructed of solid
Cone Six red stoneware. When somewhat stiffened and almost
completed, each was then cut in sections, hollowed until interior
walls were one half inch thick, and then reassembled. The
modeling of the piece was then finished and set aside to dry.
The first firing was a bisque at Cone 04, followed by multiple
layered glazings with matte gloss opalescent or crystalline glazes
to achieve the desired effect. Most pieces also display beaded
adornments inspired by the work of African women artists that are
inserted through holes molded into the piece. Each figure can
take up to two weeks to complete.
|During the Teapots exhibit,
ALEHANDRO WOOTEN Bachelor
of Fine Arts, will be present.
Amanda Call is weaver, textile artist and teacher of fiber design for the
last two decades. She did her undergraduate work in Sociology,
English, and History and graduate work in Comparative Literature and
Semantics. She has studied at Parson's School of Design in
New York City, The Pacific Basin School of Textile Arts in Oakland,
California as well as numerous workshops. She is the recipient of
several grants for the production and installation of her work as well as
study. She is a fellow of the Mississippi Craftsmen's Guild, involved
with the Arts Alliance League, the National Museum of Women in the
Arts, and also a supporter of the Partners in Art.
She has recently studied with Sha Sha Higby in the Fall of 2007,
selected as part of five textile artists to show in Wacoal Ginza
Art Space in Tokyo, Japan and was assistant set designer/coordinator
to a theatrical production at the University
of Florida. In Spring of 2008, she was the recipient of the
Samuel and Flora Taylor Foundation to install "Glass Weavings"
for the Pavillion in Indianapolis, Indiana.
Her work has been shown in both solo and group exhibitions since
the early l980's. She has also taught surface design and textile
workshops at universities thru out the South. Her work is installed
in commercial galleries as well as private collections across the
U.S., England, France and South America.
I have been in love with art and textiles since childhood. My
grandmother and mother's great love of color, texture, design--as well
as art and nature had a tremendous influence upon how I
viewed the world around me and my responses to it as I grew.
In 1974, I was introduced to my first loom by a master weaver.
Since that time, I have been devoted to the study of weave
structures and the great complexities of color and light. I like to
weave undulating surfaces which shimmer with reflective materials and
create illusions of light thru the manipulation of values. I approach all
of my work with the perspective of it being a continuum that links fine
art sensibilities with textile techniques.
I am greatly influenced when doing workshops at the Museum of
Textiles in Washington, D.C. or in the Southwest by the great
amount of detail and embellishment for beauty's sake alone that
weavers of ancient civilizations put into their functional textiles.
Such textiles makes me strive for a feeling of age and antiquity
in my work. My current work is as close to my soul as any other
work I have done.
Their vision combined with nature itself with its purity and perfection
are the foundation of my creative vision.....plus all my failures which
have taught me far more than my successes at times. I work
in honor of my grandmother, my mother, all those weavers who came
before me---and especially the ones now working in such primitive
conditions producing such "shining cloths."
May you see in the thing you do the beauty of your own soul.
General Services: Commissioned Work, Workshops/Retreats, Public
Speakings/Readings, Panelist (Peer Review), Teacher/Professor
Grade Level: College.
Experience in Public Art:
Type of art: Permanent Installation
Recipient of John Arthur Payne Grant for glass/fiber installation
in Fall 2007 Certificate of Excellence in Fiber Art show in San
Francisco 2001 Certificate of Excellence in Fiber Art show in San
Francisco 1999 Recipient of Peter R. MacArthur Grant to study
at Parson's at Lake Placid, New York in 1992. Achieved fellow
status with Mississippi Craftsmen’s Guild 1994. Recipient of the
Samuel and Flora Taylor Foundation in Spring 2008 to do
"Glass Weavings" for an installation. Received Honored Artist
of the year 2009 by Mississippi Chapter Women in the Arts.
|Artie Club members, ages 5-12 will enjoy the fascinating art tour of Teapots –Textiles –Drawings & Beads
After the tour, a creative art project will lure the children up the stairs
of the Cultural Center to a magical scene from a fairy tale dream.
Music and story telling will delight their imagination, while sipping tea with new friends
at a table that spans more than 80 feet. Whimsical silliness and door prizes will abound.
Artie Club membership information: www.ArtieForTheArts.com
Artie Club Happy Hatter’s Tea Party reservations: www.HattiesburgArtsCouncil.org
|Photos: Adolfo Pardo
|Teapots - Textile - Drawings - Beads