With his faceted porcelain structures, Brett Freund creates a sense of discovering something precious in his work. Somewhat of a conundrum - graffiti covered crystals or diamonds - his works is introspective with a bit of flash. It asks questions about status, preciousness, and culture while providing visually a slice of each.
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Brett Freund Artist Info
Brett Freund investigates patterns of aesthetics and symbols in order to produce a mash-up of form and imagery by exploring the decorative nature of the highbrow and surplus of popular culture.
His work reflects on definitions of preciousness and value. How does an object qualify itself as being important? Is it rare like a diamond? Does it take time to grow like a crystal or is it a symbol that references a status or identity?
Originally from Pittsburgh, Pennsylvania Brett Freund has studied and traveled in a variety of areas in the United States. After a residency at St. Petersburg Clay Company in Florida Brett received his MFA from Southern Illinois University Edwardsville and later was awarded the Lormina Salter Fellowship from Baltimore Clayworks. He exhibits nationally and was chosen as 2012 Emergency Artist by Ceramics Monthly.
Brett Freund Artist
It is hard to separate from the rat race of contemporary hierarchies and feel disconnected from conspicuous consumption. Trends and lifestyles help us create identities while great emphasis is put on legitimacy. As a maker of things my definition of materialism is when an object is born out of an attempt to create an image. I enjoy investigating patterns of aesthetics and symbols in order to produce a mash-up of form and imagery by exploring the decorative nature of the highbrow and the surplus of culture.
When working I think about my own definitions of preciousness and value. How does an object qualify itself as being important? Is what I’m after rare like a diamond, does it take time to grow like a crystal or is it a symbol that references a status or identity? Most importantly, how can I scrutinize cultural hierarchies without undermining the possibility of growing in my craft?
I work with functional and sculptural objects. Both bodies of work incorporate color, sketching, repetition, and are built intuitively. Everything is constructed from slip casted parts and rearranged to make up new interpretations of form. The origins of my work started conceptually as a product that communicates preciousness but is manipulated with a chaotic integrity that confuses intention and understanding of value. I liken my cutting and pasting process as a means of utilizing prototypes for one of a kind decorative objects intended for personal interior spaces not necessarily defined by art, craft, or design.