Like miniature landscapes unto themselves, each of the sculptures in Repetitive Nature not only resonates its power as a singular object, but also as part of the whole environment created within the gallery setting. The exhibition was comprised of tightly-decorated, ornate spheres of modular leaves and flowers, undulating whisper-thin porcelain husks, and layered topographical “mountains” of fingerprints.
Simultaneously minimalist and lush, Kim Dickey’s spheres referenced decorative architectural ornamentation and the construction of environments both interior and exterior. Cheryl Ann Thomas’ tall, meticulously hand-coiled columns were surrendered to the kiln, inviting accident. This challenged any level of control she may have had over the final forms, but resulted in unpredictable and dynamic organic shapes. Janet Williams’ objects treated the fingerprint as uncharted territory, laying out a highly personal, yet refreshingly new landscape in clay. The iterative process apparent in the ceramic objects in Repetitive Nature reminded us that labor can be a commitment to something greater than the self. The word “repetitive” can connote boredom or monotony, but, in this case, the repetitive act opened up contemplative space and resulted in sculpture harmonious with the world of nature.