18 Hands Gallery presents an exhibition of work by Mary Fischer. On view May 31 – June 15. Opening Reception Saturday, May 31, 6-9 PM. Join us on Saturday evening and have the opportunity to meet Mary. Light snacks and refreshments will be served.
Living 25 miles outside of Austin in the Hill Country, Mary has been a pillar in the Texas clay community for years.
Inspired by architecture, Mary accumulates images of buildings, jumbles them in her head and sorts them out with her hands. As a result, each piece has a character and charm of its own.
THE ARTIST WRITES:
The focus of my work is
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18 Hands Gallery presents an exhibition of work by Mary Fischer. On view May 31 – June 15. Opening Reception Saturday, May 31, 6-9 PM. Join us on Saturday evening and have the opportunity to meet Mary. Light snacks and refreshments will be served.
Living 25 miles outside of Austin in the Hill Country, Mary has been a pillar in the Texas clay community for years.
Inspired by architecture, Mary accumulates images of buildings, jumbles them in her head and sorts them out with her hands. As a result, each piece has a character and charm of its own.
THE ARTIST WRITES:
The focus of my work is architecture. I look at buildings in the wild and in books. They get jumbled in my head and sorted out by my hands. The buildings started as boxes. Lids became roofs. Feet and chimneys appeared and things go on from there, changing from season to season.
There are no special techniques or attempts to disguise how pieces are put together. Surface treatments and forms change over time as different things capture my interest. The timelessness of indigenous, especially desert, architecture is an abiding influence, as is the use of concrete by contemporary architects.
The making of houses is largely intuitive, but in order to get the "right" proportions, I sometimes make paper models. It is easier and quicker to make a piece out of paper and then use the model as a pattern to cut pieces out of clay. Building with extruded pieces is like playing with Legos. The more pieces you have to play with, the more you can move things around until the right combination appears. Some works include multiple pieces that are not attached so that playing can continue, arranging and rearranging as fancy dictates.
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