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Mary Anne Davis
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Mary Anne Davis’s country studio sits on a winding, dirt road. A big sign marks the place, but the studio, just down the driveway, is a small, unobtrusive building. Inside, there’s an orderly chaos of countless porcelain sculptures (actually dishes) that come in surprising sizes, shapes and colors.

Davis began painting and making sculpture in Chicago during the early 1980’s after two years of clay with Jun Kaneko at Cranbrook Academy of Art. Moving to New York in the mid-1980’s led to working with Betty Woodman and Ursula Von Rydingsvard, both of whom had an impact on the materiality of Davis’s work. In 2000, the artist moved to the country. This was a good move. Her work took off and there are few artists who have achieved her level of productivity. Today, she calls herself a potter, yet when she says the word “potter,” it takes on new meaning. Her “pottery” is “art” and it is totally functional. What does this mean? It means we would not hesitate to eat off her dishes, or hang them on the wall. Davis’s plates fall into the space between ordinary and extraordinary, which turns them into edgy artworks.

 




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