sculpture by Adam Ledford
September 27 - October 31, 2014
Reception: October 2, 6-8 PM
“B-Sides” is a collection of works from Adam Ledford that reflects the artist’s love for objects. As a ceramic artist, Ledford has spent much of his career creating and appreciating objects for their beauty as well as for their functional value. The title “B-Sides” echoes that appreciation as it refers to the b-sides of an LP. Ledford explains, “Like an LP, with a different version of the same song on the opposite side, it shows that there are endless possibilities and ways to show the same thing.” This exhibition challenges the viewer to really look at the objects that tend to be overlooked in daily life and to see them in a different light. Ledford is interested in how we use objects to identify ourselves and tell the story of our culture. He poses the question, what story do the objects in our lives tell?
Lamb, class of 2015
Gallery Exhibition Research Assistant
Terracotta, dimensional lumber, hardware, 2014
Ledford creates a portrait of his kitchen in this multi-media piece, emphasizing the objects that make up the space. These items would normally fall to the background, tucked in under cabinets and behind closed doors, but this piece emphasizes quite the opposite. Ledford brings these domestic objects to the forefront, suspending them in space, allowing them to stand out. The drawers and cabinets are tucked away in a two-dimensional representation, causing them to fall to the background. The objects create a larger narrative, a glimpse into the lives of those who use this kitchen.
Terrracotta pots made from memory, dimensional lumber, canvas, 2014
In these three pieces Ledford uses wood structures to uniquely frame his ceramic works. Each box of the framework is painted with blue, orange or green backgrounds. Ledford explains, “I’m playing with color relations, it is experimental.” The purpose of the different background colors is to show how the ceramics interact with each of the different colors. Ledford studies our perception of objects when they are presented in different settings.
This is Ledford’s homage to the moon. The center pot is his version of a Korean moon jar, popular in Korea in the 17th and 18th centuries. However, unlike traditional moon jars, his is purposefully asymmetrical. Ledford questions how the viewer’s perspective of common objects, such as the moon, is skewed based on experience. “Westerners say that the moon is perfect and therefore beautiful, when in reality the moon is not perfect,” says Ledford. However, it is these imperfections to which Ledford is attracted. “Unwound” challenges our preconceived perceptions of perfection and beauty.
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