Ceramic art pieces of Perry Haas in the Duane Reed Gallery.

Photos and reporting by Robert Kokenyesi, Ceramic Artist, Beachfront Pottery, Godfrey, IL, 62035, USA.  If you enjoyed this post, then like the post, and also like my Facebook page.      There is additional information about Beachfront Pottery on my web site.

The Venue

 

The Duane Reed Gallery is located at 4729 McPherson Avenue in St Louis, Missouri.  This the street entrance.

 

 

 

 

 

 

This is the view of the main exhibit space from the entrance.  The exhibit showing ceramic art pieces by Perry Haas was open from December 13, 2019 through January 25, 2020.

 

 

 

Three large jars by Perry Haas

 

These three jars were in the distance in the previous photo. I wanted to show how tastefully the pieces were arranged, and how uncluttered the gallery looked and felt.

 

 

 

 

The Call for Entry

There was no formal call for entry, as this was an exhibit organized by the gallery.

The Ceramic Art Pieces

There is some autobiographical content on Perry’s own web site, and some on his page on the Red Lodge Clay Center web site. This statement is from Perry’s page on the Red Lodge Clay Center:  “I approach making with a childlike spirit of experimentation and exploration. My work stems from a love of the wood fired ceramic surface, particularly how it evokes many beautiful natural phenomena.  Like imagining the way wind gathers and deposits leaves on a landscape according to changes in topography, I anticipate the manner in which ash will collect differently on the convex and concave surfaces of my gestural forms.  These functional pots are developed as a place for this surface to exist and to be enjoyed as a part of our daily life.”

This statement is from the Duane Reed Gallery site: “My work expands with movement and fluidity and how these two interact with on another. Choosing to fire my work in a wood kiln sets each piece up for a surface that is unpredictable. This process allows the piece to express itself within the elements of the fire. The failure is only obtainable when you are pushing a new direction, allowing your self to be free with so called expectations.”

His web site has pictures of his many other works.  Looking at his pieces I could appreciate Perry’s words about experimentation; I wonder how many failures he went through to arrive at the techniques needed to form  these pieces? Pushing the borders of the possible is the only way to uncover how to do the impossible.

“Large Round Jar” by Perry Haas
“Large Jar 02” by Perry Haas
“Large Jar 04” by Perry Haas

 

 

 

 

 

 

 

 

 

These large jars are 21 inches tall, and have a good girth to them. You can see the Haas hallmark of thck, flowing glaze patterns.

 

“Large Jar 1903” by Perry Haas
“Large Jar 1901” by Perry Haas
“Large Jar 1901” by Perry Haas

 

 

 

 

 

 

 

 

 

These two jars are 17 inches tall, and have more of a warp to them.  The last photo show the top view.

“Large Droplet 1911” by Perry Haas

 

At first sight this piece looked just like another warped jar, but upon closer examination you realize that there is no opening on top.  The piece is still imposing in its size.  A definite contrast between the functional jars and the sculptural droplet.

 

 

 

 

 

 

 

“Droplet 1917” by Perry Haas
“Droplet 1916” by Perry Haas
“Droplet 1918” by Perry Haas

 

 

 

 

 

 

 

 

 

 

These droplets are smaller (8 inches tall).  The glazing includes “iron inclusions”.  The site of those inclusions are where you see brownish spots.

 

 

 

 

 

 

 

“Mini Droplets Set” by Perry Haas

 

With the height of 6 inches, these pieces look more like muffins and hamburgers.  Interesting study in glaze flow on carved/shaped surfaces.

 

 

 

 

 

 

“Kintsugi Platter” by Perry Haas

 

This was the only wall piece in the exhibit.  The word “kintsugi” refers to a Japanese technique where the broken pottery is fixed by using lacquer mixed with gold dust.  According to the tag gold leaf and epoxy was used on this platter.

This is the most explicit reference to the exposure and experience of Perry in the techniques of Japanese and Chinese pottery making.

 

 

 

 

 

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