Amber Aguirre
biography |
portfolio | artists listing
b. 1958, San Francisco, California
SELECTED EXHIBITIONS
2009-11 Hot Tea!, del Mano Gallery, Los Angeles, CA
2010 Flora & Fauna, del Mano Gallery, Los Angeles, CA
Sculpture Objects & Functional Art Exposition WEST, Santa Fe, NM
Mastering Raku, Jared Branfman Memorial Gallery, Gorse Mill Studios, Needham, MA
2009 American Women Artists National Juried Exhibition, South Street Art Gallery, Easton, MI
Small Works, John Natsoulas Gallery, Davis, CA
California Council on Education for the Ceramic Arts: 30 Ceramic Artists,
John Natsoulas Gallery, Davis, CA
National Council on Education for the Ceramic Arts (NCECA), Phoenix Convention
Center, Phoenix, AZ
2007-08 Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
Solo Exhibition: Hot Flashes, Volcano Art Gallery, Volcano National Park, HI
Artists of the Big Island, Firehouse Gallery, Kamuela, HI
2007 Coffee, Ti or Chi?, Pau'ole Art Gallery, Holualoa, HI
40th Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
2006 Kona Coffee Cultural Festival, Kailua, Kona, HI
Big Island Portrait Exhibition, East Hawaii Cultural Center, Hilo, HI
The Art of Tea, Firehouse Gallery, Waimea, HI
2005 Artists of the Big Island, Firehouse Gallery, Kamuela, HI
16th Annual Teapot Show: On the Road Again, Chiaroscuro Galleries, Chicago, IL
2004-05 Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
2003-05 Gevalia Kona Coffee Art Exhibit, Ohana Keauhou Beach Resort, Keauhou, HI
2004 War, Peace and Civil Liberties, Berkeley Art Center, Berkeley, CA
Self Portraits 2004, Northwest Cultural Council, Rolling Meadows, IL
Fish Follies, Cordova Historical Society and Museum, Cordova, AK
Mugs, Jugs and Bottles, Saratoga Clay Company, Wilton, NY
Clay Lovers Calendar Show, Greensboro Artists League Gallery, Greensboro, NC
Cambridge Art Association National Prize Show, Cambridge, MA
Ink and Clay 30th Exhibition, Kellogg Art Gallery, Cal Poly University, Pomona, CA
SELECTED PUBLICATIONS
2010 Potter's Council Calendar- Sculpture
2009 Clay Times. Vol 15, Issue 84. Nov/Dec. "The Gallery." Pg 42.
Mastering Raku. Branfman, Steven. Lark Publications, Asheville, NC.
American Style Magazine. February.
Hawaii Style Magazine. Vol 6, #1.
ARTIST’S STATEMENT
Throughout history artists have functioned as social commentators. I see this as a sacred calling in my work.
My mother is a Holocaust survivor and due to her traumatic experiences in the Auschwitz Concentration Camp, I was brought up with an overwhelming awareness of fear and victimization in our culture. These manifest themselves in my work. My work explores the effects of victimization, terror and our ability to make choices that may make us victims or conversely save us from pain. The human condition is vulnerable and I question the amount of control we have over our own destiny. I attempt to explore these issues with a sometimes humorous, edgy and confrontational attitude.
My visual language consists of narrative sculpture using humans and anthropomorphic animals. These creatures interact with various references to art, contemporary culture and mythology. To accentuate the narrative I use various surface treatments to emphasize certain aspects of their nature. I use a technique that I developed that I call "Naked Fauxku". This technique duplicates the look of Naked Raku but is done in an electric kiln with no reduction. It creates a cracked, painful look that contrasts nicely with the glossy glazes that I use in moderation. The use of colors and surface treatment is an important visual cue to the narrative.
SELECTED EXHIBITIONS
2009-11 Hot Tea!, del Mano Gallery, Los Angeles, CA
2010 Flora & Fauna, del Mano Gallery, Los Angeles, CA
Sculpture Objects & Functional Art Exposition WEST, Santa Fe, NM
Mastering Raku, Jared Branfman Memorial Gallery, Gorse Mill Studios, Needham, MA
2009 American Women Artists National Juried Exhibition, South Street Art Gallery, Easton, MI
Small Works, John Natsoulas Gallery, Davis, CA
California Council on Education for the Ceramic Arts: 30 Ceramic Artists,
John Natsoulas Gallery, Davis, CA
National Council on Education for the Ceramic Arts (NCECA), Phoenix Convention
Center, Phoenix, AZ
2007-08 Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
Solo Exhibition: Hot Flashes, Volcano Art Gallery, Volcano National Park, HI
Artists of the Big Island, Firehouse Gallery, Kamuela, HI
2007 Coffee, Ti or Chi?, Pau'ole Art Gallery, Holualoa, HI
40th Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
2006 Kona Coffee Cultural Festival, Kailua, Kona, HI
Big Island Portrait Exhibition, East Hawaii Cultural Center, Hilo, HI
The Art of Tea, Firehouse Gallery, Waimea, HI
2005 Artists of the Big Island, Firehouse Gallery, Kamuela, HI
16th Annual Teapot Show: On the Road Again, Chiaroscuro Galleries, Chicago, IL
2004-05 Hawaii Craftsmen Statewide Juried Annual Exhibition, Honolulu Academy of Arts,
Honolulu, HI
2003-05 Gevalia Kona Coffee Art Exhibit, Ohana Keauhou Beach Resort, Keauhou, HI
2004 War, Peace and Civil Liberties, Berkeley Art Center, Berkeley, CA
Self Portraits 2004, Northwest Cultural Council, Rolling Meadows, IL
Fish Follies, Cordova Historical Society and Museum, Cordova, AK
Mugs, Jugs and Bottles, Saratoga Clay Company, Wilton, NY
Clay Lovers Calendar Show, Greensboro Artists League Gallery, Greensboro, NC
Cambridge Art Association National Prize Show, Cambridge, MA
Ink and Clay 30th Exhibition, Kellogg Art Gallery, Cal Poly University, Pomona, CA
SELECTED PUBLICATIONS
2010 Potter's Council Calendar- Sculpture
2009 Clay Times. Vol 15, Issue 84. Nov/Dec. "The Gallery." Pg 42.
Mastering Raku. Branfman, Steven. Lark Publications, Asheville, NC.
American Style Magazine. February.
Hawaii Style Magazine. Vol 6, #1.
ARTIST’S STATEMENT
Throughout history artists have functioned as social commentators. I see this as a sacred calling in my work.
My mother is a Holocaust survivor and due to her traumatic experiences in the Auschwitz Concentration Camp, I was brought up with an overwhelming awareness of fear and victimization in our culture. These manifest themselves in my work. My work explores the effects of victimization, terror and our ability to make choices that may make us victims or conversely save us from pain. The human condition is vulnerable and I question the amount of control we have over our own destiny. I attempt to explore these issues with a sometimes humorous, edgy and confrontational attitude.
My visual language consists of narrative sculpture using humans and anthropomorphic animals. These creatures interact with various references to art, contemporary culture and mythology. To accentuate the narrative I use various surface treatments to emphasize certain aspects of their nature. I use a technique that I developed that I call "Naked Fauxku". This technique duplicates the look of Naked Raku but is done in an electric kiln with no reduction. It creates a cracked, painful look that contrasts nicely with the glossy glazes that I use in moderation. The use of colors and surface treatment is an important visual cue to the narrative.