Tag Archives: Erik Scollon

Erik Scollon: Anything With a Hole… is Also a Bead | Now on View

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Erik Scollon—a fixture of the Bay Area’s avant-garde ceramics scene—invites us to reconsider that most conventional ceramic object: the bead.

In recent years, lockdown restrictions forced Scollon to practice on a new, more intimate scale, leading him to create thousands and thousands of ceramic beads. Slowly and meditatively, bead after bead was rolled by hand, pierced, fired and glazed. Then, through slow repetition and accumulation, they were strung and knotted into macramé panels. The resulting compositions are riotous fields of color and texture that scramble viewers’ perception of scale, distance, and resolution; inviting multiple modes of engagement and shattering conventional distinctions between painting, sculpture, and ceramic art.

About the artist

A committed educator, Scollon is an Associate Professor and Chair of the First Year CORE Studio Program at California College of the Arts. Moving between ‘sculpture’ and ‘ceramics,’ functional objects and aesthetically autonomous objects, social engagement and recorded performances, he investigates issues of education, access, taste, class, gender, and queerness.

Born in Rochester, Michigan, Scollon received his BFA from Albion College, and an MFA in Ceramics along with an MA in Visual and Critical Studies, both from California College of the Arts. His work has been seen at museums, galleries, craft fairs, design blogs, and gay biker bars. He is represented by Romer Young Gallery and he currently lives and works in San Francisco, California.

In Conversation: Adia Millett and Twyla Ruby | August 20

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Join artist Adia Millett and Curatorial Associate Twyla Ruby as they discuss Millett’s experience in intermittent residency at di Rosa and the artist’s exhibition Force of Nature.

ABOUT THE EXHIBITION & ARTIST

Adia Millett: Force of Nature presents new paintings, textiles and sculptural installations by the Oakland-based artist, created in response to di Rosa’s distinctive landscape. “The land at di Rosa,” Millett writes, “lush with soaring vultures, cracks in the decomposing earth, traces of snakeskin, and endless layers of shadows, arouse our creative minds to remember where we come from. The multitude of colors, changing like the direction of the seasonal smoke, reveals to us that with death comes new life.”

Ranging across diverse media, Millett’s practice is rooted in “taking things apart, removing, replacing, cutting, pasting, sewing and building.” Evoking “the mended shapes of an old quilt, or polygonal segments of a cathedral window,” the works suggest “the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change.” Human beings, like earthquakes, forest fires or floods, are also forces of nature.

Millett earned her BFA from UC Berkeley followed by an MFA from CalArts. Her work has been exhibited at institutions including the Studio Museum in Harlem; the Craft and Folk Museum in Los Angeles; the Museum of Contemporary Art, Atlanta; the Santa Monica Museum of Art; and the Contemporary Art Center, New Orleans.

Adia Millett, The Embers You Left Behind, 2022. Acrylic on panel, 60 x 108 in. Photo courtesy of the artist.