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“If subliminal means that which is below the threshold of ordinary consciousness and perception, then the liminal is the point of emergence, the threshold itself, the turning point between one realm and another. The liminal state is characterized by ambiguity, openness, and indeterminacy. Liminality is a period of …

Medium
Condition
New
Signature
Hand-signed by artist, Signature located on underside of piece
Certificate of authenticity
Included (issued by gallery)
Frame
Not included

In his glazed ceramic sculptures, James Marshall’s rigorous geometric shapes resemble biomorphic and mineral forms. “My exploration begins with geometric shapes,” he says. “As I draw those shapes, and play with them, and work with them, and invite them to transform, they shift into something almost recognizable, yet not quite…” Using careful draughtsmanship as his departure point, Marshall allows the element of chance to enter into his sculptural process. Unlike painted sculpture, the glazing process is fully integrated into the firing of the sculpture, in the indigenous tradition of the American southwest which Marshall calls his home. The use of clay, simultaneously ancient and modern, sets his work in dialogue both with Minimalist sculpture and a global ceramics tradition allowing Marshall to establish a relationship between each individual sculpture and a more universal experience.

Selected exhibitions
2021
2021 Fall Larsen Art AuctionLarsen Gallery
EmergentGerald Peters Contemporary
2016
Life AnewWilliam Campbell Contemporary Art Inc
View all

Green/Black 317, 2008

Glazed Ceramic
33 × 38 × 6 in
83.8 × 96.5 × 15.2 cm
.
US$7,400
Location
St. Louis
Certificate
This work includes a certificate of authenticity.
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“If subliminal means that which is below the threshold of ordinary consciousness and perception, …

Medium
Condition
New
Signature
Hand-signed by artist, Signature located on underside of piece
Certificate of authenticity
Included (issued by gallery)
Frame
Not included

In his glazed ceramic sculptures, James Marshall’s rigorous geometric shapes resemble biomorphic and mineral forms. “My exploration begins with geometric shapes,” he says. “As I draw those shapes, and play with them, and work with them, and invite them to transform, they shift into something almost recognizable, yet not quite…” Using careful draughtsmanship as his departure point, Marshall allows the element of chance to enter into his sculptural process. Unlike painted sculpture, the glazing process is fully integrated into the firing of the sculpture, in the indigenous tradition of the American southwest which Marshall calls his home. The use of clay, simultaneously ancient and modern, sets his work in dialogue both with Minimalist sculpture and a global ceramics tradition allowing Marshall to establish a relationship between each individual sculpture and a more universal experience.

Selected exhibitions (3)
Other works by James Marshall
Other works from Duane Reed Gallery
Related works