Luba Sharapan
Luba Sharapan’s work is sometimes thrown on the wheel and sometimes made by hand. Each piece is individually slipped and decorated with colorful stains. Of course the glazes are food safe! Her work is durable, functional and darn good pottery.
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Luba Sharapan at MudFire
Gallery group show de la Fleur, February 2012
Gallery group show Partners in Crime, February 2011
Curved Canvas, February 2010
Gallery group show Draw and Decal, July 2009
Gallery group show Polka Dots, April 2007
Gallery group show de la Fleur, February 2012
Luba Sharapan Artist Statement
Having lived my life in Moscow, Vienna, Rome, London, Washington and other fairly urban settings, it is fair to say that I am neither comfortable in nor inspired by nature.
Back when I was first grappling with thought, I attended Georgetown University and the London School of Economics. There I allegedly studied the dismal science, and had plenty of time to consider industrial dystopias while smashing through the sights and sounds of the glorious goth scene. Clearly, the only possible outcome of all this, twenty years later, is to make pottery influenced by tensions between classes, strife between the natural and the industrial, and the conflicts between perceived value and status. I make functional pottery that speaks of ancient cities, industrial revolutions, rusty water towers, peeling walls, dangerously decrepit rooftops, and lonely vampires stalking fainting ladies.
My work is made primarily with porcelain and decorated with many layers of stained ceramic slips, glazes, lusters and luridly floral decals. I refer to my decorative style as Belle Epoque, a backhanded reference to Europe, just one hundred years ago, when frivolous, florally-attired ladies simply couldn't fathom why there was so much grime and discontent outside their castle walls.
After decades of a more equitable environment, this porcelain society is rearing its self-aggrandized head and stealing the day once more. Once again, outside the penthouse walls, the grim malaise of poverty, exploitation and war (and of course, the fair and balanced reporting thereof) is on the rise.
It is our responsibility as artists, to sound the alarm.
