Karen Sanford
I love working with clay. It has a beautiful tactile quality that is resilient and forgiving, offering me a myriad of possibilities both creatively and technically.
I like to work in the realm between sculpture and function. Much of my experimentation is look-ing at; organic vs. geometric, light vs. dark, textured vs. smooth, soft vs. hard.
I work with thin clay slabs to create clean, crisp forms. I like to juxtapose curves with hard edges. Color and texture are used to accentuate aspects of the work. I am inspired by architec-ture and nature, thus the structure of my pieces can be reminiscent or architectural structures and colors and textures in the work may be inspired by my contact with nature.
Having been an art teacher for twenty years, I enjoy assignments. I give myself assignments in order to push the envelope of my work. This body of work has pieces from a few assignments: “Interesting food service pieces”, “Large scale vessels” and “Tea service sets”.
Siana Smith
“Beneath the Surface”
My artistic practice centers on human yearning and desire. I explore the complex relationship between consumerism, cultural identity, and the illusions of material abundance, which is linked to environmental harm. “Beneath the Surface” explores the psychological, societal, and ecological effects of consumer culture.
Growing up in post-Cultural Revolution China, I experienced pervasive material scarcity. Every object in my home was treasured, repaired, and repurposed, a way of life shaped by necessity. Upon moving to America, I became immersed in the abundance and disposability of American consumer culture, experiencing a striking contrast that continues to inform my work. My personal experience of being forced to part with a cherished garment, handmade by my grandmother, underlies my understanding of the emotional
weight objects can hold. They are more than things; they carry memory, identity, and connection. I now approach the idea of commodities with both critique and compassion, curious about how meaning is formed through personal and cultural histories. Beneath the Surface brings together personal memory and broader cultural critique to reflect on what we consume and why. Through painting, printmaking and mixed media, I seek to create a dialogue, one that encourages reflection on value, attachment, and the often-unseen costs of our material world.
