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Hollinsummer Program
Hollins University
P.O. Box 9707
Roanoke, VA 24020-1707
(800) 456-9595
Fax: (540) 362-6218


Tinker Mountain Writers' Workshop: Online
Hollins University
Luke T. Johnson
P. O. Box 9552
Roanoke, VA 24020-1552
(607) 351-1425
Fax: (540) 561-2325


Tinker Mountain Writers' Workshop
Hollins University
Christine Powell
P.O. Box 9552
Roanoke, VA 24020-1552
(540) 362-6229
Fax (540) 561-2325

Tinker Mountain Visual Arts
Hollins University
Brittany Foutz
P. O. Box 9552
Roanoke, VA 24020-1552
(540) 362-6021
Fax (540) 561-2325

Volleyball Clinics
Bill Shook
Hollins University
P. O. Box 9553
Roanoke, VA 24020-1553
(540) 362-6329

2014 Artists’ statements


Meredith Brickell Meredith Brickell
Our conception of the world is informed by the environments in which we reside—from the infinite landscape to the contained spaces of architectural structures to the details of small objects. These places and possessions describe and define us. My work is based in a long-standing interest in place, both the physical realm and our intangible impressions of it. Most recently, I have been experimenting with various ways of describing a place through a display of objects both made and found. These "place portraits" are not an attempt to reconstruct a scene, but rather a way of translating the unique physical, sensory, and historical qualities of a place into alternate presentations that speak about how we experience and interpret our surroundings.
Giselle Hicks Giselle Hicks
Within a home there are objects and structures that are held dear. Integral to the rituals of daily life, they serve as extensions of our bodies and retain traces of our presence and history. Textiles have long been the skin of beds, pillows, windows, tables and so many other surfaces around a house. Beyond their decorative function, we have come to associate them with comfort, warmth, support, rest, and privacy. Using floral designs, as well as motifs from quilting, textile, and wallpaper survey books, I carve patterns into each component of the ceramic objects. With a palette that reflects the winter landscape of the Northeast, I apply muted glazes, whose blurred indistinctions and irregularities convey a sense of faded memory through the passage of time. The segments of each piece are close to identical, and they are arranged in such a way that a tiny, uniform distance between each one remains. This process of repetition, embellishment and careful assembly is much like that of traditional quilt making, or any number of domestic cloth-based endeavors. While these practices inform my work, I hope to weave them into a broader look at our physical and psychological entwinement with the relics of daily life.
Suze Lindsay Suze Lindsay
I focus on creating and interpreting altered pottery forms that function well. Working with stoneware clay, I subtly suggest figure and character by manipulating forms after they are thrown. I also roll out clay slabs and use them to hand build elements that are then assembled with thrown parts to create pieces that have a personality of their own. An integral part of my work includes surface decoration to enhance pottery form by patterning and painting slips and glazes for salt firing. I make things to entice the user to take pleasure in everyday activities, inviting participation, promoting hospitality. These personal rituals create a place for pots whether it is for your morning cup of coffee, for a celebratory dinner party, or for freshly picked flowers.
Linda Sikora

Linda Sikora
Jars and teapots have been central to my practice for a number of years now. The "hard working" teapot is insistently engineered to fulfill performative goals of service. The jar offers a generous volume and a canvas with more permissive criteria of containment and delivery. These formats of service, storage, and display act as counterpoint or fuel for other subjects under consideration in the studio. I became focused on making pottery forms for the challenge and joy of it; for the way the exponential nuances of the practice and its output teach one about the world and, the things and acts in it. Pottery form can be familiar and congenial—it can disappear into private/personal activities and places. But this is only one aspect of the work that also—through its intelligence of color, form, and stance—can also excite/awaken attention and thereby reflect back to a viewer their own imagination. Invisible or visible, or oscillating back and forth between these states, the best work fosters both attention and inattention.



Gwendolyn Yoppolo Gwendolyn Yoppolo
To be held in the hands or touched to the lips, these are intimate objects. The forms I make engage the threshold of subjectivity by offering a conduit for nourishment into the body or between bodies. The experience is more than visceral, as the body’s pursuit of sensual experience is tied into the process of making existence meaningful on all levels. How we choose to feed ourselves and others is connected not only to our sensations of hunger and gratification, but also to our deeper perceptions of ourselves, and of the larger stories we live by. Making utensils enables me to dwell in the moment of appetite, where the anticipation of satiation moves the body through the world of materials towards the consumable. It is a movement driven by desire and guided by memory, by ancestry, and by our sense of self. A utensil extends the body and transforms the energy of this movement into purposeful action. The verbs of the kitchen are not only the processes of food preparation – grind, separate, mix, ream, drain, heat – they are also metaphors for our internal processes of combustion and transformation. The moment of consumption also transcends bodily experience, invoking our senses of culture, body image, emotion, and relational identity. By making visible those layers of meaning that reside in a food event, the forms I create arouse the physical and nonphysical faculties and extend our understanding of significance. A service designed for a dining ritual where participants feed each other can shift the perceptual horizons through which we comprehend food as nourishment, and nourishment as relationship. The pieces I make are questions, and they remain open-ended until fulfilled through use. My work makes tangible my intentions, and aims towards the receptivities of your attention. Through a minimalist design that attracts the quiet eye and responsive touch, my forms invite you to access your own silence, listening to the echoes of my gestures for the arousal of your own resonance and response.