Grace Sheese throws, alters, draws, decals, and saturates the surface of her intricate pottery. Her forms require you to pay attention, take a breath, and enjoy each individual side and decoration. Grace comes to ceramics after some years of being a studio potter which gives her a unique perspective and expansive skill to orchestrate the many details in her pots. Faceted handles and mixed media entertain and amuse. Her current collection titled "Super Awkward Moments" begins with number GSH062 below. Grace's work varies with each delivery - the animals featured in these pots are telling a story on each mug, cup, and bowl. Rich with imagery and humor these collectible little beauties are some of our favorite work in the gallery.
Grace Sheese at MudFire
Solo show New Work, August, 2013
Grace is regularly carried in our gallery now - Her current collection "Super Awkward Moments" was shipped for fall 2015.
Grace Sheese Artist Bio
Grace Sheese was born in Taipei, Taiwan. When she was almost 8, she and her younger sister boarded a plane with an unknown family friend and came to the United States, where our parents were eagerly waiting for us. Our family was a pretty typical Chinese family. Strict rules, Chinese food every night, no English spoken in the house. School and grades were of utmost importance.
Grace wanted to be a doctor since she was eight so when she entered college, she believed that's what she wanted. Along the way, she met and fell in love with clay. Uncertain of where the relationship was going, she taught 3rd and 4th grade for 7 years before finally committing to being a full time studio potter. However, after being together for 12 years, her relationship with clay was getting stale. In 2009, Grace went to graduate school with the hopes of rekindling the passion. It worked. Grace's passion for her medium shows in her pottery.
Grace Sheese Artist Statement
Each piece I make tells a story. They are small sto ries about the everyday, sometimes funny, sometimes sad, and sometimes wistful. The an imals, the objects, and the subject matter I use are common and ordinary because it grounds the narrative in the familiar. Evoking the archetypes of the sheep, the fox, the rabbit and th e pig allows me to tell stories about universal interactions, situations, and emotions with my work . My narrative unfolds across the inside, outside, and even the underside of my work. I use t he whole piece to invite further exploration. I make my work to be touched, held and used everyday but also to be worthy of notice, of being considered, and being reconsidered.
The modern world values efficiency and speed. An array of gadgets and technologies facilitate quick and easy interactions and exchanges. And while sometimes quick and easy is just the thing I'm looking for, it is not always what I need.
Pottery is one of the very oldest technologies. There is a certain efficiency in turning clay to a purpose, but clay is resistant to modern speeds and rhythms. My life in the pottery studio is quiet and measured, unhurried, and dictated by the rhythm of the clay.
The contrast between the world within the studio and the world without is sometimes disorienting. Handmade pottery, which is neither quick nor easy and never the most convenient choice, feels like a relic of a bygone age, a horse draw carriage on a super highway.
So why bother? Because speed and efficiency can rob you of your moments. Because we are not our gadgets, we need to breathe deep, and we need to pause.
The quiet steady rhythm of the clay and the studio are contained within each piece. In their use, they bring quiet and considered moments outside the studio. Cups and bowls can be ordinary objects, used without thought, taking no space, demanding no pause. But a certain form of a handle, a texture on a rim, or a combination of colors, can elicit a pause, allow you to draw a breath, and give you back your moment.
Using handmade pottery in the modern world is both special and ordinary. I want the users of my work to be keenly aware of the experience of using a functional object, to explore the work through its use, and to consider the work through interaction. By highlighting the ordinary and the extraordinariness of handmade pottery, I hope to invite the user to pause and take a deep breath, to consider and reconsider the work, and in doing so, experience a moment of awareness.