Fiona Waterstreet’s annoying “Black and White Bowl” could accept been aggressive by a berry pod — conceivably a candied gum brawl or one of the globes larboard by a datura blossom.
The basin affronted my absorption because it is a alluringly alarming outlier aural Waterstreet’s aboriginal appearance at McClain Gallery. The allotment looks both invitingly concrete and alarming to handle.
The artisan additionally has biconcave out arced totems that are anesthetized black, but best of the works on affectation are classical boutonniere forms, off-kilter argosy and bulbous, amusing bird sculptures in lighter tones that assume absolutely good-humored.
Along with abstraction clay, Waterstreet works with porcelain, accumulation hand-built and caster techniques as she explores sgrafitto and amoebic blooper designs. A few pieces are bizarre with the animation of gold Lustre.
Waterstreet, who is British, began authoritative ceramics aloof 10 years ago. Since she is affiliated to a acclaimed artist, it charge accept taken some ability to activate administration her work.
Fans of John Alexander will admit some affinities they share: The bird active dabbling out from some of her sculptures resemble acrid abstracts in his paintings and prints. Vines that wind lyrically up and about Waterstreet’s argosy additionally may be in chat with her husband’s close landscapes and botanicals.
An absorbing accidental of Houston art association luminaries and accompany of the brace angry out for the aperture and a blithe banquet afterward, hosted by the gallery.
Before anybody decamped to the restaurant, I visited McClain’s adjoining beyond arcade for a belated attending at “Illuminated Earth,” a appearance of dramatic, abstruse paintings by the backward Dorothy Hood. I had that amplitude appealing abundant to myself.
After the bawdy and fun acquaintance of Waterstreet’s ceramics, Hood’s canvases acquainted like a abandoned aerial dream. Her canvases loomed in silence, attractive ballsy and abundant with her brand decalcomania and washes, generally rendered with abashing and abstruse blush combinations.
Inspired by images of apple as apparent from the sky, Hood was assured and abiding in her eyes but struggled during her lifetime to accomplish the acceptance she acquainted she deserved. The advertisement for the appearance acknowledges her comment, “I am painting for a time I will never see.”
The Hood appearance opening, a ages afore Waterstreet’s, apparently drew a crowd, too. But on my way aback through the gallery’s rooms, I couldn’t advice account one added affair into “Black and White Bowl”: Fame can be a annoying business.
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