Design Quest Design Gallery - IN HAND: Helen Bonzelaar, Anna Greidanus, Jo-Ann VanReeuwyk

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DESIGN GALLERY AT DESIGN QUEST

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IN HAND: Helen Bonzelaar, Anna Greidanus, Jo-Ann VanReeuwyk — October 6 - November 30, 2009

An exhibit featuring sculptural forms of handmade paper and basketry Jo-Ann VanReeuwyk; pottery by Anna Greidanus; jewelry and politically-focused assemblages by Helen Bonzelaar.

Helen Bonzelaar: A Calvin College Professor of Art, Emerita, Bonzelaar creates assemblages which sometimes have political overtones which ask the question, "How can we all live together in this global world?" The exhibit will also feature her hand-made jewelry.

Jo-Ann Van Reeuwyk: Best described as fiber sculpture, VanReeuwyk's work is based on old techniques of basket weaving, paper making and stitchery. Most important is the concept of inner and outer space, both personal and collective. Van Reeuwyk is a Calvin College Professor of Art and co-chair of the Art and Art-History department.

Anna Greidanus: Engaged in art making and teaching for nearly 30 years, Anna Greidanus, Professor of Art at Calvin College, exhibits work regionally, nationally, and internationally. Anna has received recognition through organizations such as the National Council on Education for the Ceramic Arts and The National Art Education Association. Anna earned grants from the Michigan Council for the Arts and Humanities, The Getty Foundation and, in 2009, the Lilly Endowment. Her art features sculptural ceramics and mixed media artist books.

Excerpts from a collective Artists' Statement:

"The wonder of these types of artwork, the forms and materials, and the fact that they are so "in hand," is that they allow for a slowing down of time, for contemplation and quietness. Words beginning with "I" come to mind.

Intimacy: This particular artwork requires intimacy with the artist as well as the viewer. Truly the artwork in this exhibition is up close and personal. Every part or piece is studied and contemplated. The search is for uniqueness, for relationships, for connections between part and whole. Our work becomes a part of us, and we gain intimate knowledge of it as well as of ourselves.

Innovation: This artwork often requires intense problem solving and contemplation of how things fit together, and even belong together. As artists, we search for new ways to make connections with self, with others, with community, and with other work. The making of this requires very close observation.

Intricacy: A certain level of detail appears in this work. The artist loves the process and the intricacy; and asks the viewer to enjoy and contemplate the detail. Artists often hope to prompt questions, to push the viewers in their interest and even delight, and to feel/share the experience of falling in love with the materials all over again.

Intuition: We artists use elemental materials. Work in clay is considered the oldest art form. Paper, fiber, over beaten flax and glass are all ancient materials. Old and time-tested beading techniques that appear in the work of the Egyptian and the Persians are incorporated. We respond to the art of the ancient but we also contemplate in contemporary terms. Much of our work is intuitive and technical because it has been ingrained, however our concepts are as important and integral to the fruition of all of our pieces.

Did you notice how we have repeated the word contemplation? Our work itself becomes both a literal and symbolic form of prayer. You may also have noticed a pun. "Eye" could be substituted for "I." For both viewer and artist, the eye, the hand, and the intellect play 'hand in hand'."

— Helen Bonzelaar, Anna Greidanus, Jo-Ann Van Reeuwyk