Last week we spent the better part of 5 days in Asheville, NC. Knowing that the arts are a strong part of its identity, I have wanted to go there for some time. I wasn’t disappointed in any way.
Facade ornament, Biltmore Estate
Although happy for the change of scene, I also found many comforting similarities to VT — from being surrounded by mountains and plenty of green space, to the excellent farm-to-table restaurants that value local food & brew as much as we do here.
View from the loggia of the Biltmore mansion
Asheville’s River Arts District, which boasts more than 150 artists, sits beside the French Broad River, and is a vibrant area of artist-owned studio spaces spread out through renovated mills & warehouses. Among others, I was able to visit the studio of BZ Designs and speak briefly with Barbara Zaretsky, who uses natural dyes and clamped resist in her lovely work.
There are also numerous galleries in the center of town. My favorite was Blue Spiral 1 with its current exhibition entitled “Structure”, a group show of five artists who all have a connection to the Penland School of Crafts.
I was immediately taken by Rob Pulleyn’s ceramic vessels. They are substantial and sturdy, yet any first impression of “chunkiness” is belied upon closer inspection. Each piece possesses a matte surface that is marked with delicacy and intricacy, paired with earthy colors that, while adding to the sense of solidity, also provide a suitable ground for the beauty of these richly detailed exteriors. Pulleyn’s skill orchestrates a finely-tuned balancing act between structure and surface. I wasn’t the only one impressed, as indicated by the numerous little red dots on the accompanying ID tags.
Rob Pulleyn “Mime” Terra sigillata, stains, oxides 9 x 11 x 5 inches
I knew his name sounded vaguely familiar, but it wasn’t until I looked him up afterward that I had one of those slap-your-forehead moments, realizing Pulleyn had founded Fiberarts Magazine and later Lark Books, both based in Asheville.
Pulleyn writes that he had concentrated on the materials and techniques of textiles for more than thirty years, but when he began to explore clay in the 1990’s he found an immediate affinity. His artist statement is enlightening; he doesn’t take himself too seriously and his thoughts regarding self-imposed restrictions are key. There is much to be learned from the following:
“With each piece, I force myself to do something I’ve never done before: a form, a texture, or a color, for instance. This means each piece is an experiment of sorts. It also means I destroy a lot of evidence, but it keeps the anxiety level sufficiently high and the joy of success addictively sweet.”
Rob Pulleyn “01100″ Terra sigillata, stains, oxides 11 x 15 x 6 in
The most salient point for me, however, is that his decades of experience with fiber have not only informed the beauty and complexity of his vessels’ surfaces, but is still given voice through the language of clay. What a glowing testimonial to the strength of expression that results from the cross-pollination of working across mediums.
