Two New Online Exhibits at Crimson Laurel Gallery

Shop CLG online for the holidays! Crimson Laurel Gallery has expanded "Shop CLG" online and opened for the first time "CLG The Ultimate Gift" with a huge selection of items perfect for the holiday gift giving season. We're featuring many unique items from area artisans including holiday ornaments, caps, scarves, honey, goat cheese, bath and beauty items, jewelry, books, and lots of really great pottery. "CLG The Ultimate Gift" features some of the finest ceramic pieces we exhibit at Crimson Laurel Gallery. Be sure and place your order early to make sure you receive your gifts for the holidays. Free gift wrapping is available for all online purchases. Crimson Laurel Gallery will be open daily through December 31. Be sure and make us one of your destinations for holiday shopping.

Happy holidays from Crimson Laurel Gallery!

"Interpreting the cup" - Process, Influence and Intent. Nov 5th.

Cups today and throughout history have reflected the way we live. Whether it’s function is utilitarian, or an abstraction of an idea, this simple form is complex. Artists from all over the world have been selected for this exhibit to represent how they interpret the ceramic cup through their range of processes, influences, and intentions. This exhibit will feature more than 400 cups representing 84 of the finest potters from around the world. The exhibit is curated by Jason Bige Burnett.

Jason selected the artists based on the range of possibilities found among firing methods, construction techniques, and surface design. He is fascinated with how artists use traditional and more contemporary processes, from digging their own local clay to slip casting with commercial made slips. Then he focused on the unlimited ways to decorate surfaces from dipping into glazes to brushing on slips and carving into the pot or layering with decals and overglazes. Then he began to look at influences of the artists themselves and their own creative styles and whether or not work was utilitarian or conceptual.
Among the pieces in this exhibit Jason is particularly intrigued by Pattie Chalmers use of the ceramic cup as a fragment in her narrative sculpture that observes relationships and social phenomena. He also appreciates that Benjamin Carter's utilitarian cups are essentially a metaphorical landscape for southern comfort and hospitality. He found a sense of intimacy in the surfaces of Emily Schroeder's fingerprints and Susan Feagin's collaged fragments of written letters and journal pages as opposed to the controversial content that can be discovered in works by Tom Spleth and Triesch Voelker. Also, the range of narrative discovered on the cups surfaces of Ayumi Horie, Kathy King and Rough and Perfect. In the work of Elisa Helland-Hansen's mugs and gwendolyn yoppolo's cups and saucers Jason recognizes the beauty of form. The fantastic range of atmospheric surfaces can be found in the work of Shawn O'Conner, Lindsay Oesterritter and Judith Duff. Finally, Jason is fascinated by the influences of kitsch and souvenir portrayed by potters like Amy Santoferraro, Jeremy "Jr." Kane and Mark Burns. Every artist included in this exhibit contributes in some significant way to interpreting the cup.

This exhibition will open on November 5th and remain through December 31st. The exhibition will also be available online on November 4th at Midnight! Please join us for an artists reception on November 5th at 6pm. For more information call 828-688-3599 or online at www.crimsonlaurelgallery.com.

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From a Tiny Town, Crimson Laurel Reaches the World

BY MONICA MOSES

Ceramics Craft Business Jewelry | Sep. 19, 2011 | 0 Comments

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[1/7] Crimson Laurel Gallery: Photo by Jarett Frazier

John Lara and David Trophia's Crimson Laurel Gallery, founded in 2002 in a small North Carolina town, has developed a national reputation among both buyers and artists. The gallery owners have not arrived at this good place by chance. They cite their approach to customers, their collection, the Internet, and their community as keys to their success. We set out to understand how they've grown and flourished in a tough economic climate.
American Craft: How did you and John join forces?
David Trophia: We had worked together in Key West for my brother at a butterfly sanctuary. John was an entomologist and biologist, and I ran the business. We were both jewelers, and we decided to move to North Carolina and open up a little jewelry studio. So in 2000, we moved to Bakersville and in 2002 set up a little jewelry studio, doing our own work and selling the work of other artists on the side.
AC: Almost a decade later, studio jewelry remains a focus of your gallery, though you've since added ceramics. Do you and John still make jewelry?
DT: We do. We have a working jewelry studio in the gallery, and we supply jewelry for our own gallery and several others across the country. But probably 90 percent of our time now goes to running the gallery.
AC: That makes sense. The gallery seems to be thriving.
DT: We are doing very, very well, despite the economy. We have had an increase in sales every year since we opened in 2002.
AC: To what do you attribute your success?
DT: Persistence and quality. John and I are really diligent in handpicking the work in the gallery. We are a consignment gallery, and some consignment galleries allow artists to drop off work. But we don't. Our approach is the opposite. We usually go out to artists' studios and pick the very best work we can find. The result is that we have a really great, unique, cohesive collection. People always comment on how everything works together in the space. Because we specialize in ceramics and studio jewelry, when you walk in, you're not being hit with glass and fiber and wood. People are able to focus.
AC: But how have you gotten people in the door? You are off the beaten path, to say the least, in Bakersville.
DT: Our priority is developing relationships - really, friendships - with customers. We treat our customers like gold. Now we have a family of customers who come back year after year. They tell people, and we grow. If it comes down to selling a mug in the right colors, I will call an artist and have a mug made, even if it takes a couple of months. I treat every sale with equal importance, whether it's $18 or $10,000. It really makes a difference. Word of mouth has made us successful.
AC: So good relationships with customers have shaped your success. What about relationships with artists?
DT: We go to different shows, like the ACC shows or the Rosen show in Philadelphia. And if I see an artist I like, I'll approach them and ask them about consignment. Artists usually don't want to do consignment, especially with someone they don't know. But we have come to the point now where anybody I mention the gallery to in the ceramics world has heard of us. Lately we've been getting two or three applications a week from artists who want to show here. We're really proud of that.
AC: You've made a big effort online recently. What made that a priority?
DT: We had a visit from a woman from a museum one day. She wanted to come see the gallery. But she told us she almost didn't come because she had looked at our website and didn't think it was worth coming. That was a big eye opener for us. We had done our own website. She was blown away by the gallery, but the website was a problem. The very next day we decided to hire somebody to build a better website. We knew we had to get our selection out to a national audience. This year we added the shopping cart feature. We wanted to be able to offer the collection to a larger audience. We know it will take as much time to build that audience as it has to build our local audience, those who come into the physical gallery.
AC: Do you worry about selling online when your products are so tactile?
DT: Not really. We're doing a small Dan Anderson exhibition now, and we sold half the show in one day online. Most comments we get from buyers indicate they are people who have some Anderson pieces already and are adding to their collections.
AC: So do your online exhibitions focus on artists with national reputations?
DT: We've tried to pick artists who are nationally known. But we generally have three exhibitions at a time. Our strategy is to mix nationally known artists with up-and-coming artists, to give them more national exposure.
AC: No wonder artists want to be in the gallery. So your website has been an important business tool. What about social media?
DT: This year we won a social media award from Niche magazine, based on the work we've done on Facebook and videos I've made and posted on YouTube. These are things I can do inexpensively on my own, and they've been very successful.
AC: How do you know they've been successful?
DT: We know from feedback on Facebook, which has been amazing. So many people have seen the shows and picked out their favorite pieces before they walk in the door. I'm always shocked by how many people are looking before they come here. We have a Facebook audience of 2,000 and have sold several pieces just by posting them on Facebook. There is a huge ceramics community on Facebook.
AC: So would you say most of your customers are discerning collectors?
DT: No, not really. We try to have a mixture in our collection to appeal not only to established collectors but also to newcomers. We not only carry pieces by Cristina Cordova - which may sell for $10,000 - but also by Hamilton Williams, who is a production potter who makes strictly utilitarian pottery. He makes mugs for $18-20, cereal bowls, things like that. We want to introduce collectors into the market and grab the younger buyers. Collectors are getting older, and some say they have no more space in their homes. So our approach is to educate everyone who comes into the gallery, show them how these pieces are made. We try to get them to buy a mug or small bowl, something they can use every day, and get them to discover the joy of using a handmade object. I can't tell you how many times this has happened, where somebody comes in and says, "I love this mug, I use it every day. I can't tell you how different it feels. I want to get another piece by this artist."
AC: Bringing in younger buyers is an issue that gets a lot of discussion in the craft field, of course.
DT: A lot of times we in the craft field get too focused on the high end: ceramists or jewelers who make five or six pieces a year for major exhibitions. But the production potters and jewelers who are making all of this work for the marketplace that is not very expensive, that is entry-level, are hugely important. We really feel that the industry is neglecting its support of these people. Production artists represent an opportunity to build a collector and an enthusiast.
AC: Your current gallery space is wonderful, and that's no accident. You invested significantly in the building.
DT: Yes, our building, known as the Blevins building, dates back to the turn of the 20th century. It's had many incarnations. Right before we bought it, it was a food co-op. It was a silent movie theater in the 1920s, a bowling alley in the '30s, a billiards hall, other things. It started as a barn, a storage annex, for a jail across the street.
AC: Wow. If you have ghosts, they must be an interesting group.
DT: No ghosts. I don't have any ghost stories. Not yet anyway.
AC: So you and John bought this building and extensively remodeled it to be the space that it is. What made you comfortable making that investment? According to the Census bureau, Bakersville's population is 343, and it's not growing.
DT: We had a space next door, small at about 700 square feet, since 2002. What gave us confidence was the steady increase in sales. We were quickly outgrowing that space. Year after year we were amazed at how much pottery we were selling. People were traveling to Bakersville, really out of the way, to see this small collection of ceramics. Some people said we should move to Asheville or Charlotte. But we really like where we live, we like the geography, the area, the small town. And most people thought our building should be torn down. We bought inexpensively, did the work ourselves. It took about 15 months. We felt we didn't have much to lose. We invested a good bit of money, yes, but mostly our time. We felt that, even if the gallery didn't work, we could sell the building. But we never thought it wouldn't work. We knew we could double or triple our space and be successful. This area has so many artists, and Penland School of Crafts nearby is huge in its influence.
AC: What advice would you offer a new gallery owner?
DT: Go with your passion. You always hear that in advice from successful business owners. In our first two years, we were not a ceramics gallery. But I completely fell in love with ceramics. It just became a passion, an addiction. It just made sense to go in that direction. Every successful business model says you need to be passionate about what you are doing. Secondly, invest in your community. We feel really strongly about what we've done in the community. We started a festival called Bakersville Creek Walk Arts Festival, started a scholarship fund for a local high school student who wants to pursue art, and are working on three public art projects for the creek walk. The renovation we did here has helped to spark a rejuvenation of Bakersville. Our historic courthouse was going to be torn down, but now city officials have decided to raise $2 million to renovate it.

Crimson Laurel Gallery
23 Crimson Laurel Way
Bakersville, NC 28705
(828) 688-3599
crimsonlaurelgallery.com

Crimson Laurel Gallery opening three new exhibitions Saturday, Sept. 3rd .

On September 3rd, Crimson Laurel Gallery in Bakersville, North Carolina will open three new exhibits. Our featured exhibition is "South by Southwest: Collaborative Pottery by Jason Bohnert and Mark Knott" and our showcase exhibition is "Shawn Ireland - Pots and Paintings". Additionally, our online exhibition is "Ceramics by Dan Anderson". Join us for an artists reception on September 3rd at 6pm.

South by Southwest is a exhibit of collaborative pieces by Arizona potter Jason Bohnet and Georgia potter Mark Knott. Jason's work is heavily influenced by the natural world and travels to China, Italy, and all over the U.S. Most heavily he draws from Chinese folk pottery and the tradition of tea. The forms that interest Mark most reflect his love of the ocean: boats, water, continual movement, and repetitive patterns. These forms are softened by an ever changing color pallet and the atmosphere of his soda kiln This exhibition reaches across borders, miles of country, firing temperatures and differences in shape and form, to focus on commonalities between creative thinkers, makers of utilitarian objects, and soda-firing lovers of surface and decoration.

Pots and Paintings is an exhibition of pottery and paintings by Penland artist Shawn Ireland. Shawn utilizes local clays and glaze materials in his pottery described as both rustic and modern. His recent figurative candleholders and bowls have been influenced by travels to Italy where he experienced folk maiolica traditions and Etruscan antiquities. Still life and landscape have been the subjects of his paintings. ‘Pots & Paintings’ will be the first time Shawn has exhibited both his passions side by side.

Dan Anderson's work is an amalgam of vessel and industrial artifact. His pieces are handmade replicas of man made objects, soft clay renderings of metal objects aged and impotent reminders of a once powerful age. By firing his pieces in his anagama kiln, he is convinced that instead of merely heating the clay, the flame and ash have the capacity to alter and enhance his clay cans. The etched surface, created by sustained three to five day firing, imbues a "poetic" richness.

These exhibitions will open on September 3rd and remain through October 29th. Artists reception is Saturday Sept 3rd as well at 6pm. Each exhibition will also be available online starting September 3rd. For more information call 828-688-3599 or online at www.crimsonlaurelgallery.com.

Moving Forward, Looking Back and Year One.

We are getting a very late start on our blog posts for our last show, but "better late than never" always holds true.

Crimson Laurel Gallery in Bakersville, is featuring one of the finest young potters in western North Carolina today, two North Carolina living treasures, and one of the most accomplished ceramic artists in the country. Our featured exhibition is "Year One: New Work by Alex Matisse" and our showcase exhibition is "Moving Forward: Looking Back". Additionally, our online collection is "Ceramics by Jack Troy".


Year One is an exhibition of ceramics by Marshall, NC potter Alex Matisse.
His work is made in a fusion of preindustrial country traditions in both process and material. It is fired in a large wood burning kiln and made of as many local materials as the chemistry will allow, while still affording him the physical attributes necessary for his aesthetic decisions. He believes in the beautiful object; that there are inescapable aesthetic truths, physical attributes, that remove time and place from the defining characteristics of the made object. These objects can be viewed today or many years from now and be understood as beautiful.

This exhibition is a collection of work from the first firings of Alex's new kiln. As an apprentice of both Matt Jones and Mark Hewitt, Alex has combined strong and refined forms developed and as an apprentice with his own precise and uniquely beautiful decoration. Alex is one of the finest potters in western North Carolina today.

Moving Forward, Looking Back is an exhibition that features two of Mitchell County, North Carolina's Living Treasures. As Billie Ruth Sudduth completes her 10,000th basket she is featuring some of the most requested baskets from among her first 10,000. Norm Schulman is one of the most accomplished and recognized potters in the United States and he will be exhibiting his most recent works and signing copies of his book.

Billie Ruth Sudduth's baskets blend the historical with the present through

color, pattern, surface embellishment, and form. She is inspired by the classical shapes typical of Shaker and Appalachian baskets but she travels back over seven centuries for the most profound influence on her work: The Nature Sequence, developed by Leonardo of Pisa (Italy). She wants to expand the possibilities of design while maintaining function. Her weaving utilizes a mathematical structure of spiral growth found in nature to create baskets with a rhythmic, naturally flowing design. They are both visual and tactile, beckoning the viewer to touch and explore with the eyes and hands. She does not separate herself from nature but through her weaving, affirms being a part of it.

Norman Schulman, is a master ceramist, coming from a career of

more than 50 years of practicing, teaching and leading in his field. Throughout his career as a ceramic artist, he has taught and mentored many potters who have, themselves, become distinguished in the field. His many accomplishments have included professor and head of ceramics and glass at Rhode Island School of Design and head of Ceramics at Ohio State University. His works are included in many public collections, including the Smithsonian, American Craft Museum, Museum of Art and Design (NY), Mint Museum, Cameron Art Museum and Schein-Joseph International Museum. His work has become a search for the essential through simplicity of progress, form and surface; using a small anagama-type kiln and a stoneware clay body.

Jack Troy, teacher, potter, and writer, retired from Juniata College in 2006, where he taught for 39 years. He has

led over 185 workshops for potters at colleges, universities, and art centers in the U. S. and abroad. His career has taken him to 13 countries, and his work is in many private and public

collections, including the Smithsonian Institution, Shigaraki Ceramic Cultural Park (Japan), Auckland (NZ) Museum of Art and the Kalamazoo Institute of Art. His first book, Salt Glazed Ceramics, was published in 1977. In 1978 he built Pennsylvania’s first anagama-style kiln at Juniata College, and personal anagamas at his home in 1987 and 2006. In 1995 he published Wood-fired Stoneware and Porcelain. His collection of poems, Calling the Planet Home, was published in 2003 and more than 60 of his articles, book reviews, and exhibition catalogue essays have appeared in the major periodicals in his field. The Pennsylvania Council on the Arts awarded him two Craft Fellowships for his work in ceramics, and a Fellowship in Literature for his poetry. He was selected by the Council to make the awards for the 2005 Governor’s Awards for the Arts. We will be featuring a collection of his smaller works that are being shown for the first time in our area.

These exhibitions will remain through August 27th. Each exhibition is available online. For more information call 828-688-3599 or online at www.crimsonlaurelgallery.com.

Rubies and Vines -Lane and Kline

I was going to write a blog post for Michael Kline and Stacy Lane's show, "Rubies and Vines - Lane and Kline", that focused on Michael's creative experience making work for this show. I was going to write and write and add a quote here and there from Michael. Well, he sent more than a few quotes, so Micheal, take it away...

"A little more than a year ago David and John pitched the idea of a show for Stacey and I. We weren't able to act on it at the time for several reasons, but we were excited to have a show at another time and that time is now!

Although Stacey and I show our work together during our studio sales and open houses, this was a great opportunity to make special pieces that would hopefully involve collaboration and subtle influence. I'd like to say that we worked side by side making pieces together, but the fact of the matter is that we only crossed paths in our mutual studios a few times, and now realize how much focused attention and time it would take to develop the work to the level deserving of a gallery showing. Nonetheless, collaboration and influence appeared in the work we made, just at a more subtle way than I expected.

When I think of jewelry and the precious materials that Stacey uses to make her work, the word that comes to mind is refinement. In the caseof my pottery, there is refinement of earth materials for clay and glaze. Most of these materials are common and not precious, some of these are available to me here on our property. Instead, for this show, I wanted to go even further with the idea of refinement. I decided that I would take this opportunity to work with a very refined clay and explore the possibilities of an alternative firing process.

For the last 6 monthsI have been working with porcelain clay and firing the pots in oxidation in an electric kiln. In every way this process is completely different and foreign to me. Yes, porcelain is clay, and I used familiar pattern and imagery on the finished work, but the experience was full of searching and there was much trial and error. But in the end I feel that the work flourished and an idea that began in the vague notion of refinement grew into a new understanding of working and reacting to materials.

My home clay, that I affectionately refer to as my red dirt, is a craggy and nonplastic stoneware. It has very different properties and rules than the porcelain that I have been using. Both clays assert their desire to be formed to a point that is appropriate to their nature. I try to make work that revels in the natural qualities of the materials and am in turn inspired by these same qualities. This approach to the materials and the process lets me express my ideas through the medium without irony or code.

I think that Stacey and I influence each other in subtle ways that may be seen in our use of imagery, color, texture. For example, I don't think I would have painted snakes on my pots if I hadn't seen the "Snake in the Garden Pendant" that Stacey had made. I liked the way that the snake and the vine intertwined and thought that the imagery was very suitable to some kind of treatment that I am familiar with . But finally, a new motif emerged and while it wasn't exactly how I had imagined it in the beginning, it led to the use of the snake as a border on several pieces. The symbol of the snake eating its tail is know as "ouroboros". I owe my blogging buddy, Jim Gottuso, credit for alerting me to the symbolism to this imagery.

To sum things up, I feel that the important thing about all of this work is that it does reflect the subtle nature of influence. In our case, two people who share a life and family, as well as creative lives. Some influences are overt, like the use of color or lustre, others more private and personal. It has been a great opportunity to take time away from my normal production and work in an area that challenges my ideas and skills. It's also a great pleasure to be showing with my wife, Stacey, in my favorite gallery space (anywhere!) here at the Crimson Laurel Gallery!

Maybe there are influences that you might see that play out in our work?" - Michael Kline-Studio potter

Thanks Michael, I will end with this, HAPPY BIRTHDAY MICHAEL KLINE, we, the ceramics community love you!

Rubies and Vines Lane and Kline opens May 7th, Artist Reception May 7th as well.

@ 6pm.

Check out the show online.

David Trophia

Crimson Laurel Gallery

Rubies and Vines -Lane and Kline

First, I have to say, I just love this title for their show. It's a title that came from the imaginations of Michael Kline and Stacy Lane. Husband and Wife, Father and Mother, Potter and Jeweler, and all around outstanding community members. At it's inception in 2010, this show was to be a celebration ofthis well respected duo from the Mountains of North Carolina. A celebrationof their skill, dedication, fortitude and kindness.

The idea was to display a body of work not yet seen by Michael's collectors; work in porcelain, and a body of work form Stacy that connected the two artists in some way. Stacy comments below on how the show progressed from idea to exhibition.
"I have loved making the work for this show. I gave myself permission to play with some new materials, and think that this work will serve as a new beginning in the studio in several ways. At the end of the stash of my real rubies, I have been struggling with whether to buy more when it is so difficult to trace where they were mined, and under what conditions they were cut. I decided to experiment with super sparkly faux rubies in much of this work, and I love the juxtaposition of the somewhat crude metal surfaces with the crazy brightness of the stones. It was also great to be able to use as many “rubies” as I wanted, without concern for the cost of the stones. With the gold market at an all time high, I have also been drawn to the yellow color, but unable to work freely with gold. I tried casting an Ancient Bronze alloy - the color is great, and the patina appeals to me because of the feeling of age it conveys. I explored bi-metal pieces – something I haven’t done in a long time. I am particularly excited about some signet-type rings with silver tops and gold bands.Because I am sharing the show with Michael, I have been searching for subtle connections in our work over the course of the past year. I found some beautiful blue faience (clay) beads, and have made two necklaces using this material – one is a choker with a little twist, and the other a bit more tribal in feeling. Michael is experimenting with a glaze on porcelain that hints at this aqua color. I also found some beautiful dendritic quartz stones, which remind me of little gardens. The stem and leaf motifs seem connected to his painting, so I’ve used a few of these in necklaces. There might be a few snakes appearing in our work, too…

As I review the pieces for the show, I am grateful for the challenge that trying to push myself brings. This work is definitely related to my previous jewelry, but feels like a step in several new directions. Thank you for the opportunity!" - Stacey Lane, Studio Jeweler
May 7th marks Michael's 50th year on this planet, Happy Bithday Michael. Some of the pieces in this exhibition have "50" marked on the backside, one has it glazed! A collectors dream for certain. Friday we will post again about this show and hear a few words from the birthday boy himself.

Exhibition begins May 7th online and in the gallery. Check it out online @ www.crimsonlaurelgallery.com

David Trophia
Crimson Laurel Gallery

"Containment II" Excited yet ?

Excited yet about "Containment II" - the inside story? Well, we certainly are. Last Spring Crimson Laurel Gallery opened it's first concept show called "Containment, an exhibition of ceramic boxes". The show went on to be a great success with it's thirty plus national artists showing their design ideas for this widely popular theme.Wanting to continue the momentum of this show into 2011, we invited thirty five artists, most of whom were new to the theme, to contribute to this years show with a twist. The twist is not mind blowing but it did allow for a new area of creative energy. Simply have your piece contain something...anything.

As you can imagine, we have received some really interesting work. I want to touch on a few to wet your appetite for the upcoming show. Lets start with Noah Ridel, Chapel Hill NC. Noah's work really impressed me because it's all about design which I particularly love in ceramics. Influenced by designers such as Alvar Aalto and Charles and Ray Eames, Noah has created three lidded pieces that beg to be touched and opened. A lid that you slide your hand into to remove and another that uses the influences of a coffee bean to form the handle of it's lid. These are standouts and are a must see. Another artist who's work I admire very much and was excited to receive is Judith Duff, from Brevard, NC. Judith created two wonderfully formed lidded houses that are very rich in form and surface. We asked Judith to elaborate on her entries to the show this year.

"In my past trips to Japan I have been inspired by Japanese architecture and also the lanterns found in their famous gardens. For several years I have been making large Toro's (Japanese Lanterns) and these new box forms were derived from my lanterns. They took on special meaning to me when, during their construction, the terrible earthquake and tsunami shattered the lives of the people of Japan. They are architectural in nature and are reminders of the thousands of homes and structures that were devestated in this disaster. Rather than holding light like the lanterns, these boxes hold hope and the promise of recovery. The treats that are inside the boxes hopefully represent a more optomistic future". - Judith Duff

"Containment II - the inside story" is a must see if your're in our area and, if your're not, just go to our website May 7th to view and purchase these one of a kind works. The website will also be introducing a new feature this year, a shopping cart feature that we have wanted to add for quite some time now. Bravo to our web designer Marsia Falcigno who worked hard to get this new feature up and running in time for this amazing show.

Coming up next on our Blog, Michael Kline and Stacy Lane, our featured exhibition for May and June, talk about their show and give us a glimpse of what to expect from this highly respected artist duo.

"Containment II - the inside story" opens to audiences May 7th at 10am both in the gallery and online. Artists Reception - May 7th as well 6pm. Mark your calendars collectors.

David TrophiaCrimson Laural Gallery

www.crimsonlaurelgallery.com

Enter the Bathysphere - Artist Reception for Jason Bige Burnett and Eleanor Annand.

On April 7, 2011, Crimson Laurel Gallery in Bakersville, North Carolina presents Submerging the Bathysphere: Illustrative Ceramics by Eleanor Annand and Jason Bige Burnett. These two artists have come together to investigate life at sea through illustrative ceramics. In both form and content they have combined their playful sensibility to create decorative and functional ceramic work.

Eleanor Annand is primarily a printmaker and illustrator. She creates prints with strong central characters that tell tales of exploration, escape, and disg

uise. These stories evoke folklore of the past and urban legends.

Jason Bige Burnett involves screenprinted and digital printmaking methods into his ceramics. Simultaneously he incorporates pop influenced imagery that is both personal and universal creating a sense of deviancy and play to his ceramic work.

This exhibition will opened on April 2nd and remain through April 30th. The exhibition will be available online on April 2nd. Join us for an artist's reception on April 9 at 6pm. For more information call Crimson Laurel Gallery at 828-688-3599 or online atwww.crimsonlaurelgallery.com.