Autumn Higgins uses the finest upscale ceramic materials, including pure porcelain and gold luster, to create pottery that one might expect to be both refined and elegant. Her subject matter however, is directed towards voyeurism, bodies and body parts. The goal of this ironic pairing is laughter, contemplation, and ultimately a new level of comfort with social taboo.
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Autumn Higgins at MudFire
Autumn Higgins Artist Bio
Born into a family of artists, my mother a painter, and my grandparents who have worked in ceramics for over 50 years, I understand the importance of art objects in one's life, and it only seems natural that I go into the art field. Beginning with small projects in my grandparent's studio I have always had an affinity for ceramics.
My serious interest in ceramics began at Southern Oregon University in 2004-2008. The influence of the many instructors who came through the ceramics department has given me a diverse ceramic education and helped me to develop an unique voice and style. In the summer of 2006 I apprenticed under the French potter Jean-Nicolas Gerard in Valensole, France. Spending long days in the studio, I gained technical skill doing production assistance and studio work for Mr. Gerard. This opportunity also provided time to develop my own work and ideas.
I recently finished a year of Post-Baccalaureate studies at the University of Florida in Gainesville, Florida. I am currently enrolled in the MFA program for ceramics at Louisiana State University in Baton Rouge, Louisiana.
Autumn Higgins Artist Statement
My work merges life experiences with my functional pottery. Inspired by a ceramics apprenticeship in southern France, I began working with sgraffito decoration to incorporate my interest in social behavior with my love for functional ceramics. Based on human relationships and interaction with utilitarian objects, my work personifies our awkward and humorous nature. It is about voyeurism, common but unclaimed behavior, bodies, body parts, and laughter. The imagery, inspired by personal experiences and observations is meant to surprise the user, encourage laughter and some discomfort, but ultimately cause them to become more comfortable with taboos. My stylized and child-like aesthetic, the preciousness of the porcelain, gentle colors and metallic luster entice the viewer to touch and use the objects. Only through the intimacy of touch will they be close enough to notice the explicit subject matter drawn on the surface.
My work is meant to be used and enjoyed, and I want people to relate to it. I want them to have fun while they eat, and laugh while they drink their morning coffee.