Het klinkt een beetje degenererend, ’t een en ’t ander, maar het is integendeel een markante positieve kentrek van kunstenaar Bruce M. Sherman (°1942 levend en werkend in NY USA) die niet voor het ene klassieke of modernistische gat te vangen is en telkens zowel het ene, als bijvoorbeeld het totemistische met het grappige, als het surreële met het traditionele weet te verbinden. Oorspronkelijk tandarts maar tegelijkertijd artisitieke studies (ook weer die verbinding!) met de keramiek-oven in de slaapkamer en tenslotte als kunstenaar en prof. tandartsstudies in velerlei landen bekend, met nog een tentoonstelling in 2017 in Brussel. Ik laat je enkele voorbeelden zien, maar onderaan vind je het adres van de kunstenaars-studio en gallery die zijn werk verkoopt. In de eigen studio vind je ook foto’s vanuit verschillende hoeken genomen zodat je een ruimtelijke totaal-indruk krijgt.

Bruce M. Sherman’s anthropomorphic ceramic sculptures combine elements of figuration and abstraction. Each of his hand-thrown works maintains a delicate balance between humor and integrity; surreality and tradition; and function and beauty. He often draws reference to figures of ancient totemic histories, implying an allegorical element but leaving the narrative inconclusive. Common imagery found in Sherman’s sculptures include plants, hands, feet, and eyes; arranged in a whimsical yet reverent fashion to celebrate life and nature. (Artspace)

For 15 years in the ’60s and ’70s he was involved in the Society for Experimental Studies, a group of likeminded creatives who worked together to pursue and promote various forms of craftsmanship (Sherman himself engaged with Japanese Bunraku puppetry and stone-cutting). The high regard for craft that Sherman learned in that circle still largely figures into his practice today. “Crafts were studied in a very meaningful way,” he says, with particular attention to developing a thoughtful approach to creating objects, but also to everyday activities. “If you’re a good craftsman, so to speak, how you wash a dish is as important as how you throw a pot.” (Casey Lesser Artsy Net)

He likens the recent works, which are largely driven by impulse, to the 1960s children’s game PlayPlax, for which colored perspex squares can be assembled to build vibrant structures. Sherman’s pieces are primarily made from slabs of clay that he cuts, stacks, makes into tubes, and combines to form people and mythical creatures. Some resemble dollhouses, inhabited by tiny figures, body parts, ladders, and potted plants—some even hold real, miniature cacti.(ibidem)

Sherman’s trees draw upon the deep histories and meanings associated with the varied life form; as connectors between heaven and earth, the tree expresses at once groundedness and a reaching upwards toward higher energies. Nearby, Sherman’s interpretations of Constantin Brancusi’s Endless Column (1918) further suggest the bridging of the ground and skies, and like the trees, are covered in all-seeing eyes. (Nyartbeat 2020)

Bruce Sherman's art is caught between representation and abstraction, utility and aesthetics, humor and sincerity. His influences may be found in Cubism and Surrealism. Sherman's aim is to communicate awareness, cyclical energies, transformation, renewal, and rebirth: eyes, hands, feet, arrows, plants; all these elements reflect his own humanist language and philosophies.

Zeker te bezoeken:

Bruce M. Sherman

en ook de studio:

https://www.brucemsherman.com/

 
 Some ideas being explored:
 To listen fully
 Being open
 Vanity
 Prayer
 Searching for finer energies (often through humor)
 Searching for my true Self
 Quietness
 Our animal nature
 New birth/ newness (eggs)
(uit een interview in Art Maze Mag dor Layla Leiman)

‘Ceramics has been used for useful objects through the centuries: bowls, plates, tiles, vases (also plumbing pipes, toilets and space rocket materials and more). Many useful objects are sculpture too. I like the range of being able to make “art” and return to the useful object like a bowl. There’s satisfaction in making a bowl that serves a purpose. This making serves others and the world. Lately I’ve been making bowls and vases with narrative threads that depict “ideas” and stories. In my mind, a great bowl is as valid as a work of art as a great painting.’ (ibidem)

My studio is fairly tidy with lots of shelves. There’s a wheel area, a slab roller area and work tables. Though in the middle of Manhattan, there’s a modest backyard. A frog (named Bisque) has lived in the yard for three years now. Amazing! Usually there’s music playing of a wide range. It’s very comfortable and relaxing and never a stressful environment. (ibidem)

Was eens klei
kende de wortels van wouden
hoorde het lied van dromers
voelde vingers en handen
de hitte van de oven
keek daarna de maker in de ogen
een mens op weg naar wat ik was geweest.