sculpture gallery•PlumTreePottery

  THE WORK
    slideshow
    slideshow two

  RESERVE GALLERY
    the touch
    private & public
    collections

  UPPER GALLERY
    examples

  SCULPTURE
    instruction series
    landscape series
    mantle series
    place series

  SHOWROOM
    baking dishes
    & casseroles
    cups,saucers,
    mugs & tumblers
    bowls, plates,
    & trays
    boxes & lidded jars
    ewers, pitchers,
    & tea pots
    planters, & vases

  PORCELAIN
    examples

  TILES
    examples
    installations

  DINNERWARE
    waiting list
    out of state
    customers
    current pricing
    process
    components

  PRICING GUIDE
    guidelines

SCULPTURE GALLERY

The studio compound contains a sculpture studio to which we also welcome visitors. The sculpture studio is where I assemble and view my progress in works for the wall or freestanding works that deal with painting and drawing and spatial issues that interest me. For a description of those pieces, see "John Glick's Journeys and Evolutions," Interview by Samantha Krukowski, Ceramics: Art and Perception # 9, 1992. For additional information on wall works, see "John Parker Glick The Mantel Series," by David D.J. Rau, Ceramics: Art and Perception # 32, 1998.

place series		landscape series

instruction series		mantel series

In 1989 I began to make pieces that were not pottery per se. These first sculptural works, the "Landscape Series," were pictorial "tiles" as large as 24 x 34 inches, or more intimately sized in the range of 6 x 12 inches, framed in steel, to hang on the wall.

Later wall works became decidedly more organic, more involved with specific themes. The "Instruction Series" gave rise to a series involving imagery that dealt with the passage of time, forces of nature, and the organic shapes of leaves and trees.

More recently, the work has turned to a wall-relief format that deals with personal memory. The "Mantel Series" focuses on bits of recognizable objects collaged into still life groupings. "The Mantel Series," which includes objects from everyday life, recalls nearly forgotten memories, and draws its images from recollections of the endlessly fascinating accumulations of bric-�-brac on a grandmother's shelves. . . fruit from the old pear tree, the water-stained post cards, letters and the collections of shells and sandy treasures lovingly rescued by a beach-combing child that accumulated on the mantelpiece of a family cottage. The use of the collage technique or the combining of apparently unrelated objects adds to the potential for story telling and the sense of mystery that these pieces convey.

I have been intrigued with painting and drawing for much of my career. Since discovering my "hand" with a brush or stylus, I've done much with drawing and painting utilizing ceramic materials. The "Place Series" sculptures return to a favored theme: the sense of place implied where the horizon joins sky with land or water. The series is informed by my love of natural settings, and while not specific, may spark a feeling of recognition for the viewer.

"Why is a potter making sculpture?" The answer is simple: I love diversity in my approach to my work and believe that it is healthy for me as an artist to explore as many of the ideas that I have as time allows.