Where You Lead, 2012-13

Where You Lead, 2012

Glazed porcelain   5” x 5” x ¾

                                                                                 

Hear and There, 2012

Glazed porcelain   5” x 7” x ¾”  

                                                                                 

Alone Together, 2013

Glazed porcelain   5 ½” x 8” x ¾”

                                                                                 

I Will Follow, 2013

Glazed porcelain   5” x 7” x ¾”

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Undertow, 2012-13

Undertow, 2012-13

Glazed porcelain. Installation dimensions. 7” x 54” x 3”

Inspired by the figures of two children dancing among a tide of beleaguered grownups in Lorado Taft’s 1920 “Fountain of Time” on the edge of Washington Park on the South Side of Chicago. Thirteen figures cast from a cloth-bodied child doll, prance across a wall at floor level. Two mimic the poses of Taft’s dancing children; others echo poses found in photos of displaced children dancing in unlikely circumstance around the world. Apparently oblivious to human struggle, dismissed and yet underfoot, they tug toward the future.

Always With You, 2012

Always With You, 2012

Glazed porcelain, splashed iron. 8” x 7” x ¾”

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Home Sick, 2011

Home Sick, 2011

Sterling silver, bronze, porcelain, cast iron, sheet lead
48 dental castings each approx. 1 ¼ ” x 2 ½” x 2″
Iron chair 32.5″x16.5″x17.5″; iron bags @ approx. 11″x5″x3″; lead plaques 3″x5″

Home Sick, a retrospective installation, presented a complete collection of forty-eight pair of metal dental casts, each resting on an individual porcelain niche-shelf. The casts chronicle the falling out and growing in of a pair of siblings’ teeth over a seven-year period. The sister’s collection of teeth, cast in silver, is called Tooth for a Tooth; the brother’s, cast in bronze, is called Cheek by Jowl. The teeth are souvenir relics serving as a memoir and memorial of childhood from a mother’s perspective. The maternal self-portrait, Dear as Salt, a cast iron chair standing askew with one leg lifted on two cast iron lunch bags, accompanied the collection of teeth. The installation closed with two piles of sheet lead plaques that record the siblings’ days spent home sick in the course of a year.

 

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Cheek by Jowl, 2008

Cheek by Jowl, 2008  Sterling silver, bronze, unglazed porcelain 12 archival inkjet prints 12″ x 18″ / 24 dental castings each approx. 1 ¼ ” x 2 ½” x 2″ / porcelain shelves 4½” x 2¾” x 2″ / installation dimensions variable

Soho20 Gallery 40th Anniversary Catalog, 2013

SOHO20 Artists Inc. d.b.a. SOHO20 Gallery is a non-profit artist-run organization that has been promoting the work of women artists since 1973. The organization was founded by a group of 20 women artists in New York City intent on achieving professional excellence in an industry sorely lacking in opportunities for women. Since its inception the gallery has been a voice for marginalized artists, fostering growth through opportunities and resources.”

Soho20 Gallery 1973-2013: Celebrating 40 Years of Supporting Women Artists The 40th anniversary catalogue of SOHO20 Gallery includes organizational history from 1973 to 2013, archive, photographs reproductions, press clippings reproductions, past and present artists members’ works.

Without Irreverence at Soho20, May/June 2013

Tue, May 21, 2013 – Sat, Jun 15, 2013

SOHO20 CHELSEA GALLERY
547 West 27th St. Suite 301
NEW YORK, NY 10001
T. 212.367.8994
F. 212.367.8984
info@soho20gallery.com

Free admission (all visitors, all hours)

Opening Reception May 23, 2013 from 6:00pm – 8:00pm

Press ReleaseMailer

SOHO20 Chelsea presents “Without Irreverence,” new ceramic sculpture by Monica Bock. In To the Light House, Virginia Woolf suggests that, “A mother and child may be reduced to a shadow without irreverence.” Woolf’s novel of reconciliation, built on memories of familial loss and regeneration, is the initial inspiration for Monica Bock’s recent sculptural work using hand-altered glazed porcelain slip castings of a mother-daughter pair of early-twentieth century style dollhouse figures. Striking poses based on iconic temple acrobats, sky goddesses and divas, or succumbing to the weight of their own skins, Bock’s mothers and daughters dance en masse and gather in small conversations across the gallery walls, at once bound by and set free from the consequences of their intimacy.

 

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