Conrad Wilde Gallery presents artist Aurore Chabot

Aurore Chabot – Artist Statement

I am constantly striving to discover and expose the inner workings of my mind or subconscious as I manipulate clay into forms. To that end I have developed a range of processes during which a kind of mindlessness – to avoid self-consciousness and allow my subconscious free rein – occurs in the initial stages of construction. The relationships and meaning within and without my work become more apparent over time, after the piece is completed. My goal is to create sculptures that are distinct in form, yet ambiguous in origin and meaning, as often are our dreams, the elusive stories from our subconscious. I view my creative process as an ongoing journey of discernment and revelation.

I make most of the clay forms by combining pinch/coil construction with what I call reverse inlay, achieved by laying leather hard tile fragments and fossil-like shapes backwards or upside down against a flat surface or in some kind of press mold, then pressing plastic clay into and around them to make a conglomerate slab on which I pinch or coil construct the walls of the piece. I laboriously construct work this way because it is parallel to the accumulation of bits of experience that make each of us unique individuals. Later, when the piece is leather hard and the construction is completed, I carve into the surface to create a hide-like or bark-like texture, it’s “living” skin. I then paint the surfaces with layers of slips and stains and fire it. Giving the piece up to the fire of the kiln is like giving myself up to sleep for dream work; one can never be sure what kind of metamorphoses will take place there. Once I fire the piece, I can reveal, by repositioning the piece, the inlaid side that has been “buried” during construction. I construct most of the pieces one way, but display them in another position, sometimes on fabricated or found object bases to add psychological dimension.

I am guided by the seemingly discordant sensibilities of architectural or geometric and organic systems to create hybrid forms of sculpture. I use the idea of windows or doorways in that there are negative spaces that pass through and into a sculpture, yet the shape of the sculpture may feel plant or pod-like rather than strictly architectonic. The pieces are simple in form yet contain compositional elements in complex arrangements, including layers of tile and fossil-like fragments, carved and distressed surfaces, bright colors, solidity versus hollowness, and the etched text of personal dream stories. The complexity comes out of my meditations on time, past and present, on the making and unmaking of the earth, and on what we can and cannot know from the bits of tangible, paleontological, geological, and archeological clues left from the earth’s constantly changing cycles. Furthermore, I have found powerful source material in contemporary Mexican cemeteries where the past and the present, constantly in tension, feverishly coexist. Such a cemetery, constantly in a state of decay and construction, evokes one large, constantly metamorphosing organism. This is the kind of breathing energy I strive to bring to my own work in which the layers of fragments and combinations of forms serve as metaphor for passage of time, experience and memory.

Resume

Education

1981 Master of Fine Arts, University of Colorado, Boulder

1971 Bachelor of Fine Arts, with Honors, Pratt Institute, Brooklyn, New York

Exhibitions

Solo:

1998 Aurore Chabot, Resident Artist, University of South Australia, Adelaide

1997 Featured Artist, Sculpture, Objects, Functional Art Exposition, Navy Pier, Chicago

1994 Solo Invitational Exhibition, Manchester Craftsmen’s Guild, Pittsburgh, PA

1990 Fire Chaser, Featured Faculty Artist, UA Museum of Art, Tucson

1990 The Mary H. Dana Women Artists Series, Mabel Smith Douglass Library , Douglass College/Rutgers University, New Brunswick, New Jersey

1984 Solo Exhibition, Invitational, John Michael Kohler Arts Center, Sheboygan, Wisconsin

1983 Solo Exhibition, Jane Hartsook Gallery, Greenwich House Pottery, New York City

1983 Solo Exhibition, juried, WARM Gallery, Minneapolis, Minnesota

2005 Invitational NCECA Exhibition: US & Canadian Artists, Taipei County Yingge Ceramics Museum, Taiwan.

2005 Past, Present, Future: Arizona Ceramic Artists, St. Louis Community College, Meramec, St. Louis, Missouri.

2004 AMACO Group Invitational, University of Indianapolis, Indianapolis, Indiana

2004 Tile: Matter and Motif, curated by Cary Esser, Baltimore Clay Works, Baltimore, MD

2003 CLAY: Making Connections Invitational Exhibition, Roswell Museum and Art Center, NM

2003 21st Century Ceramics Invitational, Columbus College of Art and Design, Columbus, OH

2002 Selections From the Permanent Collection, Tucson Museum of Art

2001 Clay On The Wall, invitational, Gallery 128, New York City

2000 Ceramic Masters from the Univ of CO, The Dairy Ctr for the Arts, Boulder, CO

1998 SUBSTANCE: materials, process and vision in clay, TX Woman’s U Fine Arts Gallery, Denton

1997 Selections from the San Angelo Museum of Fine Arts, The Austin Museum of Art, Austin, TX.

1997 Featured Artist, Sandy Carson Gallery at SOFA Exposition, Navy Pier, ChicagoGroup

1996 Ten Outstanding Women Ceramists, Foster Gallery, University of Wisconsin, Eau Claire

1996 Contemporary American Ceramics, Visual Arts Center, Metropolitan State College, Denver, CO

1996 25 Years of Women’s Art, Mason Gross School of Art Galleries, Rutgers University, New Brunswick, NJ

1995-96 Superbowl Invitational, ASU Nelson Art Center Museum, Tempe, AZ

1995 Tucson Collection ‘95, Davis Dominguez Gallery, Tucson, AZ

1995 Ceramic Invitational, Archie Bray Artists, MJL Impressions, Minneapolis

1995 Ceramic Sculpture Invitational, Montgomery College, Rockville, Maryland and Center of the Earth Gallery, Charlotte, North Carolina

1994 Dreams and Journeys, Two-Person Invitational, Clay Studio, Philadelphia, PA

1994 Teacher as Mentor, Northern Clay Center, St. Paul, Minnesota

1994 Process, Space Traveling Exhibition, Group Invitational Exhibition, Bulgaria and Turkey

1993 Every Object Tells A Story: Narrative Craft, ASU Nelson Art Center Museum,Tempe, AZ

1993 Barro Sin Fronteras/Clay Without Borders, Fox Fine Art Center, University of Texas, El Paso.

1993 Watershed Benefit Invitational Exhibition, Nancy Margolis Gallery, New York City

1992 At Home in Tucson, Tucson Museum of Art

1991 International Ceramic Symposium Exhibition, Dzinteri Institute, Jurmala, Latvia

1990 Buildings with Clay, Hoffman Gallery, Oregon School of Arts and Crafts, Portland, Oregon

1990 Beyond New York, Five Affiliate Member Exhibition, A.I.R. Gallery, New York City

1987 What’s New: American Ceramics Since 1980, J.B. Speed Art Museum, Louisville, Kentucky

1987 Artists in Space, Fashion Institute of Technology Artisan Space Gallery, New York City

Selected Awards & Honors

2005 Fellow of the Council Award, National Council on Education for the Ceramic Arts (NCECA)

1999-2004 Board of Directors, NCECA; 2 years elected as Director-at-Large and 3 years appointed as Publications Director and Editor of The NCECA Journals for the years: 2001, 2002 and 2003.

2002 Sabbatical Leave to develop artwork

2001 Incentive Grant, College of Fine Arts, to attend symposium in Faenza, Italy

1999 Small Grant, College of Fine Arts, University of Arizona, Tucson

1998 International Travel Grant to Australia, University of Arizona, Tucson

1998 Artist-in-Residence Grant, University of South Australia, Adelaide

1997 & 91 Individual Artist Grant, Tucson/Pima Arts Council

1990 & 96 Small Research Grant, Univ. of AZ, Tucson

1990 Individual Artist Grant, Western States Arts Federation/National Endowment for the Arts

1995 & 93 Artist-in-Residence Award, Archie Bray Foundation, Helena, Montana

1994 Artist-in-Residence Award, Virginia Center for the Creative Arts, Sweet Briar, VA

1993 Third Prize, Eighth Annual San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, San Angelo, Texas

1991 Andy Warhol Foundation Fellow and Artist-In-Residency Grant, MacDowell Artist Colony, Peterboro, New Hampshire

1991 International Travel Grant to Latvia, University of Arizona, Tucson

1991 Faculty of Fine Arts Incentive Grant, University of Arizona

1990 Governor’s Arts Award Artist, Arizona – Award Sculpture Commission

1989 Research in the Fine Arts Award, Faculty of Fine Arts, Department of Art, UA

1983 & 1986 Individual Artist Fellowship Grants, Vermont Council on the Arts

1984 Artist-In-Residence Award, Artpark, Lewiston, New York

1983 Individual Artist Fellowship Grant, National Endowment for the Arts

Selected Bibliography

MAKING AND INSTALLING HANDMADE TILES by Angelica Pozo, Lark Pblshrs, 2005, P. 16.

THE PENLAND BOOK OF CERAMICS: Master Classes in Ceramic Techniques, 2003, Deborah Morgenthal and Suzanne J.E. Tourtillott, color image of Cellular Synchronicity IEM-W hand-made tile mural and text, p. 47American Crafts, April/May 2004, 21ST CENTURY CERAMICS in the United States and Canada, the exhibition at the Columbus College of Art and Design Gallery, offered an outstanding opportunity to see an enormous amount of contemporary work by Robert Silberman; Pp. 45 & 85; color image of sculpture, Fungus Map, and positive mention in review.

21ST CENTURY CERAMICS Catalogue in conjunction with the major invitational international exhibition at the Columbus College of Art and Design Gallery, Columbus, Ohio, 2004, one full page with color reproductions of work and the artist.

ELECTRIC KILN CERAMICS, 3rd Edition, 2004, by Richard Zakin; pp. 238-39, review w/color images of Vortex of Time and Space, tile mural installed at Phoenix Sky Harbor Airport.

Ceramics, Art and Perception, “Cellular Synchronicity,” Vol. 48, 2002, pp. 86-
87.

MAKING CERAMIC SCULPTURE by Raul Acero, photos, pp. 5, 25, 125, 2000.

CONTEMPORARY CERAMICS by Susan Peterson, color photo, Tile Chapter, 2000.

CERAMICS, WAYS OF CREATION by Richard Zakin, pp. 217-24, photos, 1999.

HANDS IN CLAY, 4th Ed., by Charlotte Speight, photo, portfolio section, 1999.

Ceramics, Art and Perception, Vol 23, ‘96, “Ceramics and Sculpture ,” by Kevin A. Hluch, p.78.

Ceramics Monthly, Jan, 1995, photo, p 30; March, 1995, photo, p 10; and May, 2000, photo, p 18.

The Studio Potter, “20th Anniversary Collection," photo, Vol.20, No., June 1992, p. C4.

Neue Keramic, “Neues aus USA: Aurore Chabot,” by Martina Schoder, photos, Nov/Dec 1990, p. 379.

American Ceramics, “A House Is Not Always a Home,” by Susan Wechsler, Vol. 4, #3, p. 64.

Long-Term Academic Positions

1998-present Professor, University of Arizona, Tucson

1991-1998 Associate Professor, with tenure, University of Arizona, Tucson

1988-1991 Assistant Professor, University of Arizona, Tucson

1982-1988 Assistant Professor, University of Vermont, Burlington

1981-1982 Visiting Instructor, Acting Head of Ceramics Department, University of Minnesota, Duluth

Public Art Commissions

1997 Tile Mural Project, Cellular Synchronicity, University of Arizona Marley Building

2002 Tile Mural Project, A Vortex of Time and Space, Sky Harbor Airport, Phoenix, AZ

Selected Private & Public Collections

The John Michael Kohler Art Center, Sheboygan, Wisconsin

The Tucson Museum of Art, Tucson, Arizona

The Pushkin Museum, Moscow, Russia, C.I.S.

Museum of Decorative Arts, Riga, Latvia

The San Angelo Museum of Fine Arts, San Angelo, Texas

The Allan Chasanoff Ceramic Collection, The Mint Museum, Charlotte, NC

Selected Visiting Artist workshops, Lectures & Panels

2003 Resident Artist, Glaze Storm Residency, University of Indianapolis; AMACO sponsored

2001 Visiting Artist, UCLA, Pitzer College, Los Angeles; Alberta College of Art & Design, Calgary

1998 Visiting Artist, Kent State University, Kent, Ohio

1997 Panelist, Public Art Panel, Tucson/Pima Arts Council; Governor’s Arts Awards, Phoenix

1995 Panelist, NCECA National Conference, Minneapolis, Minnesota

1994 Visiting Artist, Virginia Commonwealth University, Richmond, Virginia

1994 Visiting Artist, The Clay Studio, Philadelphia, Pennsylvania

1993 Visiting Artist, Harvard Ceramic Program, Boston, Massachusetts

1991 Visiting Artist, International Ceramic Symposium, Dzinteri Institute, Jurmala, Latvia

1990 Visiting Artist, The Anderson Ranch Arts Center, Snowmass Village, Colorado

Professional Service

2004-2005 Chair, College of Fine Arts Advisory Council, University of Arizona, elected

2004-2005 Chair, School of Art Visiting Artists, Scholars and Exhibitions Committee, elected

2001-2004 University of Arizona Advisory Committee on Promotion and Tenure, appointed

1998-2002 University of Arizona Graduate Council, appointed

2001-2004 Publications Director, NCECA (appointed position) (responsible for yearly journal and co-planning/management of the annual conference, three newsletters/year, and other National Board initiatives

2000-2002 Studio Area Co-Chair and Executive Committee member, School of Art, University of Arizona

2001 Juror, From the Bottom Up, Regional Juried Exhibition, Las Cruces, NM

1999-2001 Director-at-Large, Board of Directors, National Council on Education for the Ceramic Arts (NCECA) (elected position) (conference coplanning/management and other tasks)

2000 & 2001 Juror, Emerging Artists Awards, NCECA National Conferences, Denver, CO and
Charlotte, NC

2000 Reviewer, pre-publication, Making It In Clay, by Charlotte Speight and John Toki

1999 Panelist, Tucson/Pima Arts Council Individual Artist Grants Panel

1998 Reviewer, pre-publication, Working With Clay by Susan Peterson, Prentice Hall; Simon & Schuster Education Group, Publishers.

1997 Juror, Public Art Panel, Invited, Fourth Avenue Underpass Project, Tucson, Tucson/Pima Arts Council

1997 Juror, Panel of Artists to Select Original Artworks for the Governor’s 1998 Arts Awards, (invited) Arizona Commission on the Arts, Phoenix

1987-1993 Advisory Board, John Michael Kohler Arts Center, Sheboygan, Wisconsin

Professional Memberships

National Council on Education for the Ceramic Arts

College Art Association

American Crafts Council

Archie Bray Foundation for the Ceramic Arts

Southern Arizona Clay Artists



	Aurore Chabot – Artist Statement I am constantly striving to discover and expose the inner workings of my mind or subconscious as I manipulate clay into forms. To that end I have developed a range of processes during which a kind of mindlessness – to avoid self-consciousness and allow my subconscious free rein – occurs in the initial stages of construction. The relationships and meaning within and without my work become more apparent over time, after the piece is completed. My goal is to create sculptures that are distinct in form, yet ambiguous in origin and meaning, as often are our dreams, the elusive stories from our subconscious. I view my creative process as an ongoing journey of discernment and revelation. I make most of the clay forms by combining pinch/coil construction with what I call reverse inlay, achieved by laying leather hard tile fragments and fossil-like shapes backwards or upside down against a flat surface or in some kind of press mold, then pressing plastic clay into and around them to make a conglomerate slab on which I pinch or coil construct the walls of the piece. I laboriously construct work this way because it is parallel to the accumulation of bits of experience that make each of us unique individuals. Later, when the piece is leather hard and the construction is completed, I carve into the surface to create a hide-like or bark-like texture, it’s “living” skin. I then paint the surfaces with layers of slips and stains and fire it. Giving the piece up to the fire of the kiln is like giving myself up to sleep for dream work; one can never be sure what kind of metamorphoses will take place there. Once I fire the piece, I can reveal, by repositioning the piece, the inlaid side that has been “buried” during construction. I construct most of the pieces one way, but display them in another position, sometimes on fabricated or found object bases to add psychological dimension. I am guided by the seemingly discordant sensibilities of architectural or geometric and organic systems to create hybrid forms of sculpture. I use the idea of windows or doorways in that there are negative spaces that pass through and into a sculpture, yet the shape of the sculpture may feel plant or pod-like rather than strictly architectonic. The pieces are simple in form yet contain compositional elements in complex arrangements, including layers of tile and fossil-like fragments, carved and distressed surfaces, bright colors, solidity versus hollowness, and the etched text of personal dream stories. The complexity comes out of my meditations on time, past and present, on the making and unmaking of the earth, and on what we can and cannot know from the bits of tangible, paleontological, geological, and archeological clues left from the earth’s constantly changing cycles. Furthermore, I have found powerful source material in contemporary Mexican cemeteries where the past and the present, constantly in tension, feverishly coexist. Such a cemetery, constantly in a state of decay and construction, evokes one large, constantly metamorphosing organism. This is the kind of breathing energy I strive to bring to my own work in which the layers of fragments and combinations of forms serve as metaphor for passage of time, experience and memory. Resume Education 1981 Master of Fine Arts, University of Colorado, Boulder 1971 Bachelor of Fine Arts, with Honors, Pratt Institute, Brooklyn, New York Exhibitions Solo: 1998 Aurore Chabot, Resident Artist, University of South Australia, Adelaide 1997 Featured Artist, Sculpture, Objects, Functional Art Exposition, Navy Pier, Chicago 1994 Solo Invitational Exhibition, Manchester Craftsmen’s Guild, Pittsburgh, PA 1990 Fire Chaser, Featured Faculty Artist, UA Museum of Art, Tucson 1990 The Mary H. Dana Women Artists Series, Mabel Smith Douglass Library , Douglass College/Rutgers University, New Brunswick, New Jersey 1984 Solo Exhibition, Invitational, John Michael Kohler Arts Center, Sheboygan, Wisconsin 1983 Solo Exhibition, Jane Hartsook Gallery, Greenwich House Pottery, New York City 1983 Solo Exhibition, juried, WARM Gallery, Minneapolis, Minnesota Group: 2005 Invitational NCECA Exhibition: US & Canadian Artists, Taipei County Yingge Ceramics Museum, Taiwan. 2005 Past, Present, Future: Arizona Ceramic Artists, St. Louis Community College, Meramec, St. Louis, Missouri. 2004 AMACO Group Invitational, University of Indianapolis, Indianapolis, Indiana 2004 Tile: Matter and Motif, curated by Cary Esser, Baltimore Clay Works, Baltimore, MD 2003 CLAY: Making Connections Invitational Exhibition, Roswell Museum and Art Center, NM 2003 21st Century Ceramics Invitational, Columbus College of Art and Design, Columbus, OH 2002 Selections From the Permanent Collection, Tucson Museum of Art 2001 Clay On The Wall, invitational, Gallery 128, New York City 2000 Ceramic Masters from the Univ of CO, The Dairy Ctr for the Arts, Boulder, CO 1998 SUBSTANCE: materials, process and vision in clay, TX Woman’s U Fine Arts Gallery, Denton 1997 Selections from the San Angelo Museum of Fine Arts, The Austin Museum of Art, Austin, TX. 1997 Featured Artist, Sandy Carson Gallery at SOFA Exposition, Navy Pier, ChicagoGroup 1996 Ten Outstanding Women Ceramists, Foster Gallery, University of Wisconsin, Eau Claire 1996 Contemporary American Ceramics, Visual Arts Center, Metropolitan State College, Denver, CO 1996 25 Years of Women’s Art, Mason Gross School of Art Galleries, Rutgers University, New Brunswick, NJ 1995-96 Superbowl Invitational, ASU Nelson Art Center Museum, Tempe, AZ 1995 Tucson Collection ‘95, Davis Dominguez Gallery, Tucson, AZ 1995 Ceramic Invitational, Archie Bray Artists, MJL Impressions, Minneapolis 1995 Ceramic Sculpture Invitational, Montgomery College, Rockville, Maryland and Center of the Earth Gallery, Charlotte, North Carolina 1994 Dreams and Journeys, Two-Person Invitational, Clay Studio, Philadelphia, PA 1994 Teacher as Mentor, Northern Clay Center, St. Paul, Minnesota 1994 Process, Space Traveling Exhibition, Group Invitational Exhibition, Bulgaria and Turkey 1993 Every Object Tells A Story: Narrative Craft, ASU Nelson Art Center Museum,Tempe, AZ 1993 Barro Sin Fronteras/Clay Without Borders, Fox Fine Art Center, University of Texas, El Paso. 1993 Watershed Benefit Invitational Exhibition, Nancy Margolis Gallery, New York City 1992 At Home in Tucson, Tucson Museum of Art 1991 International Ceramic Symposium Exhibition, Dzinteri Institute, Jurmala, Latvia 1990 Buildings with Clay, Hoffman Gallery, Oregon School of Arts and Crafts, Portland, Oregon 1990 Beyond New York, Five Affiliate Member Exhibition, A.I.R. Gallery, New York City 1987 What’s New: American Ceramics Since 1980, J.B. Speed Art Museum, Louisville, Kentucky 1987 Artists in Space, Fashion Institute of Technology Artisan Space Gallery, New York City Selected Awards & Honors 2005 Fellow of the Council Award, National Council on Education for the Ceramic Arts (NCECA) 1999-2004 Board of Directors, NCECA; 2 years elected as Director-at-Large and 3 years appointed as Publications Director and Editor of The NCECA Journals for the years: 2001, 2002 and 2003. 2002 Sabbatical Leave to develop artwork 2001 Incentive Grant, College of Fine Arts, to attend symposium in Faenza, Italy 1999 Small Grant, College of Fine Arts, University of Arizona, Tucson 1998 International Travel Grant to Australia, University of Arizona, Tucson 1998 Artist-in-Residence Grant, University of South Australia, Adelaide 1997 & 91 Individual Artist Grant, Tucson/Pima Arts Council 1990 & 96 Small Research Grant, Univ. of AZ, Tucson 1990 Individual Artist Grant, Western States Arts Federation/National Endowment for the Arts 1995 & 93 Artist-in-Residence Award, Archie Bray Foundation, Helena, Montana 1994 Artist-in-Residence Award, Virginia Center for the Creative Arts, Sweet Briar, VA 1993 Third Prize, Eighth Annual San Angelo National Ceramic Competition, San Angelo Museum of Fine Arts, San Angelo, Texas 1991 Andy Warhol Foundation Fellow and Artist-In-Residency Grant, MacDowell Artist Colony, Peterboro, New Hampshire 1991 International Travel Grant to Latvia, University of Arizona, Tucson 1991 Faculty of Fine Arts Incentive Grant, University of Arizona 1990 Governor’s Arts Award Artist, Arizona – Award Sculpture Commission 1989 Research in the Fine Arts Award, Faculty of Fine Arts, Department of Art, UA 1983 & 1986 Individual Artist Fellowship Grants, Vermont Council on the Arts 1984 Artist-In-Residence Award, Artpark, Lewiston, New York 1983 Individual Artist Fellowship Grant, National Endowment for the Arts Selected Bibliography MAKING AND INSTALLING HANDMADE TILES by Angelica Pozo, Lark Pblshrs, 2005, P. 16. THE PENLAND BOOK OF CERAMICS: Master Classes in Ceramic Techniques, 2003, Deborah Morgenthal and Suzanne J.E. Tourtillott, color image of Cellular Synchronicity IEM-W hand-made tile mural and text, p. 47American Crafts, April/May 2004, 21ST CENTURY CERAMICS in the United States and Canada, the exhibition at the Columbus College of Art and Design Gallery, offered an outstanding opportunity to see an enormous amount of contemporary work by Robert Silberman; Pp. 45 & 85; color image of sculpture, Fungus Map, and positive mention in review. 21ST CENTURY CERAMICS Catalogue in conjunction with the major invitational international exhibition at the Columbus College of Art and Design Gallery, Columbus, Ohio, 2004, one full page with color reproductions of work and the artist. ELECTRIC KILN CERAMICS, 3rd Edition, 2004, by Richard Zakin; pp. 238-39, review w/color images of Vortex of Time and Space, tile mural installed at Phoenix Sky Harbor Airport. Ceramics, Art and Perception, “Cellular Synchronicity,” Vol. 48, 2002, pp. 86- 87. MAKING CERAMIC SCULPTURE by Raul Acero, photos, pp. 5, 25, 125, 2000. CONTEMPORARY CERAMICS by Susan Peterson, color photo, Tile Chapter, 2000. CERAMICS, WAYS OF CREATION by Richard Zakin, pp. 217-24, photos, 1999. HANDS IN CLAY, 4th Ed., by Charlotte Speight, photo, portfolio section, 1999. Ceramics, Art and Perception, Vol 23, ‘96, “Ceramics and Sculpture ,” by Kevin A. Hluch, p.78. Ceramics Monthly, Jan, 1995, photo, p 30; March, 1995, photo, p 10; and May, 2000, photo, p 18. The Studio Potter, “20th Anniversary Collection," photo, Vol.20, No., June 1992, p. C4. Neue Keramic, “Neues aus USA: Aurore Chabot,” by Martina Schoder, photos, Nov/Dec 1990, p. 379. American Ceramics, “A House Is Not Always a Home,” by Susan Wechsler, Vol. 4, #3, p. 64. Long-Term Academic Positions 1998-present Professor, University of Arizona, Tucson 1991-1998 Associate Professor, with tenure, University of Arizona, Tucson 1988-1991 Assistant Professor, University of Arizona, Tucson 1982-1988 Assistant Professor, University of Vermont, Burlington 1981-1982 Visiting Instructor, Acting Head of Ceramics Department, University of Minnesota, Duluth Public Art Commissions 1997 Tile Mural Project, Cellular Synchronicity, University of Arizona Marley Building 2002 Tile Mural Project, A Vortex of Time and Space, Sky Harbor Airport, Phoenix, AZ Selected Private & Public Collections The John Michael Kohler Art Center, Sheboygan, Wisconsin The Tucson Museum of Art, Tucson, Arizona The Pushkin Museum, Moscow, Russia, C.I.S. Museum of Decorative Arts, Riga, Latvia The San Angelo Museum of Fine Arts, San Angelo, Texas The Allan Chasanoff Ceramic Collection, The Mint Museum, Charlotte, NC Selected Visiting Artist workshops, Lectures & Panels 2003 Resident Artist, Glaze Storm Residency, University of Indianapolis; AMACO sponsored 2001 Visiting Artist, UCLA, Pitzer College, Los Angeles; Alberta College of Art & Design, Calgary 1998 Visiting Artist, Kent State University, Kent, Ohio 1997 Panelist, Public Art Panel, Tucson/Pima Arts Council; Governor’s Arts Awards, Phoenix 1995 Panelist, NCECA National Conference, Minneapolis, Minnesota 1994 Visiting Artist, Virginia Commonwealth University, Richmond, Virginia 1994 Visiting Artist, The Clay Studio, Philadelphia, Pennsylvania 1993 Visiting Artist, Harvard Ceramic Program, Boston, Massachusetts 1991 Visiting Artist, International Ceramic Symposium, Dzinteri Institute, Jurmala, Latvia 1990 Visiting Artist, The Anderson Ranch Arts Center, Snowmass Village, Colorado Professional Service 2004-2005 Chair, College of Fine Arts Advisory Council, University of Arizona, elected 2004-2005 Chair, School of Art Visiting Artists, Scholars and Exhibitions Committee, elected 2001-2004 University of Arizona Advisory Committee on Promotion and Tenure, appointed 1998-2002 University of Arizona Graduate Council, appointed 2001-2004 Publications Director, NCECA (appointed position) (responsible for yearly journal and co-planning/management of the annual conference, three newsletters/year, and other National Board initiatives 2000-2002 Studio Area Co-Chair and Executive Committee member, School of Art, University of Arizona 2001 Juror, From the Bottom Up, Regional Juried Exhibition, Las Cruces, NM 1999-2001 Director-at-Large, Board of Directors, National Council on Education for the Ceramic Arts (NCECA) (elected position) (conference coplanning/management and other tasks) 2000 & 2001 Juror, Emerging Artists Awards, NCECA National Conferences, Denver, CO and Charlotte, NC 2000 Reviewer, pre-publication, Making It In Clay, by Charlotte Speight and John Toki 1999 Panelist, Tucson/Pima Arts Council Individual Artist Grants Panel 1998 Reviewer, pre-publication, Working With Clay by Susan Peterson, Prentice Hall; Simon & Schuster Education Group, Publishers. 1997 Juror, Public Art Panel, Invited, Fourth Avenue Underpass Project, Tucson, Tucson/Pima Arts Council 1997 Juror, Panel of Artists to Select Original Artworks for the Governor’s 1998 Arts Awards, (invited) Arizona Commission on the Arts, Phoenix 1987-1993 Advisory Board, John Michael Kohler Arts Center, Sheboygan, Wisconsin Professional Memberships National Council on Education for the Ceramic Arts College Art Association American Crafts Council Archie Bray Foundation for the Ceramic Arts Southern Arizona Clay Artists





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