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Carrie Chimenti

CHIMENTI, a citizen of the USA and Italy, began her sculpting career in 1996 in Florence, Italy. She obtained a BFA in sculpture from Miami University in 1998 and an MFA in sculpture from American University in 2002 but did her two years of MFA studies between Perugia and Rome, Italy. After completing her MFA, Chimenti worked at a Villa in Umbria and for the world renowned sculptor Beverly Pepper in Todi, Italy. She returned from Italy to Milwaukee, WI in 2005 and taught sculpture and ceramics at Cardinal Stritch University for a year and has had a studio set up in Milwaukee since then

Recently Chimenti painted and sculpted for Cost of Wisconsin, a themed construction company in Jackson, WI and is currently making walls bello with Italian plaster wall finishes, artistic wall finishes and sculpts out of her Milwaukee home.

Artist Statement

For many years I have been deeply influenced by the many animals used in art and architecture around the world. Whether real or mythological, animal forms have been used throughout history across countless cultures. The symbolism of animal forms and the enduring presence of these forms are the inspiration for my present work. I am curious about the human connection to animals, past and present, and the evolution of their appearance and meaning throughout the ages. Zoomorphism; attributing animal characteristics to humans, and anthromorphism; attributing human characteristics to animals, provide fascinating insights into the spirituality and the greatest aspirations of mankind.

During my five years of living, teaching and studying in Italy, I was drawn to the blend of grace and strength that was exhibited in Etruscan helmets and armor. Often, these incredibly beautiful helmets included fanciful yet powerful depictions of animals. This inspired me to create my own series of helmets in terra cotta for the contemporary woman, with various animals worked into the helmets representing characteristics that would be transferred to the wearer. After the helmets, I concentrated on sculptural animal talismans that correspond to our various human needs, desires and personalities.

These talismans lead me to my current series called the “Guardian Series”. These various “guardians” protect, guide, and watch over their owners in various areas of their lives. Each animal acts like a spiritual guide, a reminder of where you need help or guidance. Each animal has its own symbolism and power, and acts as a particular kind of guardian as it stands watch over a room, a home or a person.

Using clay, plaster, metal and mixed media in my work, I try to capture what these animals mean to me and how they make me feel, as well as how they speak to other people.

Stephanie A. Rozene

Stephanie Rozene is a ceramic artist who is dedicated to the advancement and development of the field of Craft History and Theory and in particular the use of historical ornament as a visual language.

Rozene holds an M.F.A in ceramics and craft history from NSCAD University in Halifax, Nova Scotia, Canada and a B.F.A from the New York State College of Ceramics at Alfred University in Alfred, New York. She is currently an Assistant Professor of Art and the Ceramics Studio Head at Hartwick College in Oneonta, NY

Artist Statement

My research and art making focuses on the exploration of personal relationships through use and the role that pottery form plays in communicating meaning. I make work in the form of the utilitarian pot but am inspired by and grounded in conceptual, historical and theoretical approaches to ornament, form, use and making. Through the medium of ceramics (and with special attention to specific patterns, ornaments, and forms) I am currently exploring the politics of European and American dinnerware and tracing international developments in this medium from Presidential china back to the reigns of French kings Louis XV and Louis XVI. By extrapolating patterns off of china patterns I have created my own visual language that speaks to not only national/international identities but also to the extravagances to which government goes to in order to maintain its identity. Through collaboration with other artists in various media we have been creating dialogues between culture, use, spending, consumerism, conflict, and excess through pattern.