A L E X K R A F T A R T
B I O
Alex Kraft received her BFA and BSed from Northern Arizona University and MFA from the University of Montana. Artist residencies include short-term at Archie Bray Foundation; Clay Studio of Missoula; Pentaculum/Arrowmont; Watershed Center for the Ceramic Arts; Red Lodge Clay Center (x3); Guldagergaard International Ceramic Research Center; Jingdezhen Tioxichuan International Studio; and long-term at Arrowmont and Roswell Artist in Residence Program. Among other endeavors, her experience writing and curating include the large-scale exhibition and social media project - 50 Women: A Celebration of Women’s Contribution to Ceramics; as well as Nasty Women/Artaxis; and Critical Function: 4 Critics/40 Artists. She is an Associate Professor and oversees the ceramics program at the University of North Georgia-Dahlonega.
A R T I S T S T A T E M E N T
I create tableaus of layered memories, sensory reflections of passed moments that surmount details and erode specific meaning. I tend to gravitate between abstraction and semi-abstracted realism. Often there are specific decipherable symbols or “nouns” apparent, but an exacting narrative is not explicit within each work.
Pattern and botanical imagery are often present through organic abstraction of flora, fauna, and landscape. This pervades my interest in the physical being and is oriented towards the larger grander enterprise interpreted by the individual self.
My current work employs layered multi-temperature oxidation glaze firings. I have developed a brightly colored, multi-surfaced glaze palette that unifies the formal qualities of my work with its content. I incorporate mono-printing, mishima, image transfer, other decorative treatments that further encourage a wide variety of surfaces.
Concepts relating to the explorations above are also evident in my two-dimensional and mixed media works. Craft as art and the DIY movement are referenced through the use and handling of materials in these works. I enjoy working in a variety of materials in order to portray a particular concept or idea.
Making functional pottery is an important part of my practice. I use mid-range porcelain incorporating decorative treatments that encourage a wide variety of surfaces. Through drawing in relation to form I have developed a personal iconography that extends to archetypal symbol. Pattern and decoration seeped into my sculptural forms by way of this venture. It is exciting to see a relationship grow between these seemingly separate endeavors.