Mitch Messina -4 - a photo on Flickriver

Mitch Messina -4

            米切尔•墨西拿 

CRADDLE 
Medium/Materials: Clay, paint
Dimensions: 36” x 24” x 18” (91 x 61 x 46 cm)  
Year: 2018

摇篮 
介质/材料: 黏土，油漆
尺寸: 36英寸x 24英寸x 18英寸（91 x 61 x 46厘米）
年: 2018

Artist Statement:
My work explores how advancements in tools and technology have transformed the nature of human interaction. From primitive existence to today's digital age, tools have marked stages in the development of civilization and provide evidence that human beings continue to advance along an evolutionary continuum. Early tools were not only the extension of the human body but also of the mind, serving as a way of existing in and making sense of the physical world. The catalyst behind my sculpture is the belief that the relationship between man and object no longer extends our capabilities, but instead has begun to limit society. Tools born from advanced technology are creating an emotionally alienated society, devoid of direct human contact. Using anonymous male figures, gesture, and tension, my sculpture expresses narratives of the weakening of genuine human interaction. Chosen as the central material for my work, clay represents a raw material connection to the earth; however, when cast into molds and used in repetition, it simultaneously references the flash point of dehumanization through mass production. I therefore merge the feeling of alienation that modern tools have created with nostalgia for a once-empathetic society fueled by human exchange. 

艺术家声明:
我的工作探索工具和技术的进步如何改变了人类互动的本质。从原始的存在到当今的数字时代，工具已成为文明发展的重要阶段，并提供了证据表明人类继续沿着进化的连续统一体前进。早期的工具不仅是人体的扩展，而且是思想的扩展，是存在于现实世界中并理解现实世界的一种方式。我雕塑背后的催化剂是信念，即人与物之间的关系不再扩展我们的能力，而是开始限制社会。先进技术催生的工具正在创建一种情感疏远的社会，没有人类的直接接触。我的雕塑使用匿名的男性人物，手势和张力来表达对真实人际互动减弱的叙述。粘土被选作我作品的主要材料，它代表着与地球的原材料连接。但是，当铸入模具中并重复使用时，它同时引用了通过大规模生产实现非人性化的闪点。因此，我将现代工具所产生的疏远感与怀旧之情融合在一起，以期在人类交往的推动下一度通情达理。

Artist Biography:
Born in San Jose California in 1961, I began my journey with clay as a High School Student in Beaverton, Oregon. After receiving a football scholarship, I enrolled at Portland State University in Oregon and pursued a degree in ceramic arts. I received my B.S. degree from PSU in 1984 and moved to Philadelphia to start my Masters in Fine Arts degree at Tyler School of Art. That same year, while in Philadelphia, I developed an interest in the pre-industrial tools collected and preserved by Henry Mercer an early 1900’s artisan and archeologist in Doylestown, PA. The concept that tools have marked stages in human development from primitive existence to current levels of technology continues to drive the force behind my ceramic and mixed media sculpture. After graduating in 1986, I taught at numerous colleges before moving to Rochester in 1990.  Currently, I am in my twenty eighth year as the head of the Ceramics and Sculpture departments at Nazareth College and teach on both the Graduate and Undergraduate level. My artwork has been exhibited in many group and one-person shows, including solo exhibitions at the Clay Studio and the Snyderman galleries in Philadelphia, Pa. and in Regional art galleries area at the University of Rochester, Roberts Wesleyan, Monroe Community College, Fingerlakes Community College, Main Street Art center in Cliffton Springs, NY and the Saratoga Clay Art Center. Recent group shows include Looking at Ourselves at the Baltimore Clay works, The Clay National in Louisville Kentucky, Craftforms at the Wayne Art Center in Wayne PA. Locally my work can be seen in a permanent installation of three sculptures at the Village Gate Complex in downtown Rochester. My sculpture has been reviewed in Sculpture Magazine, and featured in Ceramics monthly and American Craft magazine. Publications include Making Ceramic Sculpture, by Raul Acero and Hand formed Ceramics by Richard Zakin. In 1991, I received the Evelyn Shapiro grant for ceramic excellence and in 1995 was awarded the Excellence in Teaching Award from Nazareth College.

艺术家传记:
1961年出生于加利福尼亚州圣何塞，我在俄勒冈州比弗顿的一名高中生开始粘土的旅程。收到足球奖学金后，我就读于俄勒冈州的波特兰州立大学 （PSU），攻读陶瓷艺术学位。1984年我从PSU获得了艺术学士学位。 然后移居费城，在泰勒艺术学院开始我的艺术硕士学位。同年，在费城，我对亨利•默瑟（Henry Mercer）收集和保存的1900年代早期工匠和考古学家在宾夕法尼亚州多尔斯敦（Doylestown，PA）收集并保存的工业工具产生了兴趣。工具已标志着人类发展的阶段，从原始存在到当前的技术水平，继续推动着我的陶瓷和混合媒体雕塑的发展。 1986年毕业后，我在许多学院任教，然后在1990年移居罗切斯特。目前，我已经担任28 年拿撒勒学院陶瓷和雕塑系系主任，同时在研究生和本科生级别任教。我的作品曾在许多团体和一个人的展览中展出过，包括在宾夕法尼亚州费城的Clay Studio和Snyderman画廊以及在罗彻斯特大学，罗伯茨•卫斯理大学，门罗社区学院，Fingerlakes的地区画廊举办的个人展览。社区学院，纽约州克利夫顿斯普林斯的主要街道艺术中心和萨拉托加粘土艺术中心。最近的群展包括在巴尔的摩黏土作品中的《看自己》，肯塔基州路易斯维尔的《黏土人》，宾夕法尼亚州韦恩艺术中心的Craftforms。在当地，我的作品可以在罗切斯特市中心的乡村门综合大楼永久安装三个雕塑。我的雕塑已在《雕塑》杂志上接受过评论，并在《陶瓷》月刊和《美国工艺》杂志上有精选报道。出版物包括Raul Acero的《制作陶瓷雕塑》和Richard Zakin的《手工形成的陶瓷》。 1991年，我获得了伊芙琳•夏皮罗（Evelyn Shapiro）的陶瓷卓越奖金。1995年，我被拿撒勒学院（Nazareth College）授予教学卓越奖。
   

Taken on: April 26, 2019

Tags:

Untitled work

clay and mixed media

Rochester

Friday

at Nazareth College

Arts Center

April 26

2019

2019-04-26

spring

college professor

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Sets appears in: • Symbiosis Exhibition

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