Finch’s Parrot Shag, wool, 3’ x 5.5’ x 2”, 2018
Dallas Art Fair 2019 with Denny Dimin Gallery
Artists featured: Vessel Cult (an ongoing collaboration between Future Retrieval and Amanda Valdez), Amanda Valdez, and Future Retrieval. April 11th - April 14th, 2019, Dallas Texas.
Branch Chandelier, porcelain, 28” x 4’ x 4’, 2018
Created for Branch restaurant in East Walnut Hills, Cincinnati OH, housed in the former art deco Central Trust Bank. The owls are cast from the originals located on the entrance to the building, and glazed to match the historic molding found throughout.
Globe Vases 1-6, porcelain, 17.25” x 11” x 6.5”, 2018
Permanent Spectacle, hand cut paper, plexiglass, porcelain, terra cotta, weaving, wood, marble, 14' x 14" x 8', 2017.
Solo exhibition at the Fuller Craft Museum, Brockton MA. April 15th - October 1st, 2017.
Permanent Spectacle re-envisions exhibition and display as an immersive tableaux. Constructed landscapes reference idealized environments and scenic block printed wallpaper recreated through hand cut paper. Wildlife populate this arena, altered through the processes of digital collection and material selection. The artists examined expeditions, researchers, and landscapes through the mining of historical collections from the Smithsonian archives at the National Museum of Natural History and the Cooper Hewitt National Design Museum.
Hermit Crab 4, 17” x 12” x 6.75”, porcelain, 2018
Hermit Crab 5, 22” x 18” x 15”, porcelain and sagger clay, 2018
Hermit Crab 2, 15” x 10” x 6.75”, porcelain, 2018
Hermit Crab 3, 13.5” x 9” x 6.75”, porcelain, 2018
Hermit Crab 1, 13” x 10” x 8”, porcelain, 2018
Chinoiserie Taft Busts, hand cut paper, cnc milled wood, porcelain, overglaze, 23K gold leaf, 48” x 12” x 8”, 2018.
Permanent installation at The Summit Hotel, Cincinnati Ohio
Sevres Shag Rug, 40” x 25” x 3.5”, wool and cotton, 2017
Joshua Tree Vase, Sevres, handcut paper, 35” x 24”, 2018
Vase Pot Pourri, Sevres, handcut paper, 29" x 27", 2017
Vase, Sevres, handcut paper, 34.5" x 15", 2017
Vase with Handles, Sevres, handcut paper, 35" x 22" 2017
Bobcat, 24" x 20"x 15", porcelain, 2018
Nothing But Flowers, handcut paper, 40.5" x 26", 2017
Male and Female Figures, CNC milled stoneware, 8" x 5" x5" and 7" x 5" x 4", 2017.
Market Value, porcelain, wood, antiques, rug, 3D prints, 3.5' x 6.5' x 3.5', 2017
Fundamental Qualities, porcelain, fabric, wood, composite board, 6' x 4' x 12", 2017
Floral arrangement by designed and styled by Una Floral
The Forbidden Planet, porcelain, bond paper, wood, formica, 50" x 42" x 10", 2016
Triumph, porcelain, handcut paper, wood, formica, 78" x 30" x 9", 2016
Facade, made in collaboration with Jordan Tate 2016. Dimensions vary, stoneware, cardboard, fabric, wood, fountain, plaster, photos.
Facade employs both humor and homage while we borrow and combine a high-low approach to a mixed media European garden. The installation exposes the structures of artifice, like an exploded diagram highlighting not only the trompe l'oeil but the foundation that supports it.
Facade, Birke Art Gallery, Marshall University, Huntington WV. Jan. 11th - Feb 19th, 2016
Facade Fountain, The Wired, Weston Art Gallery, Cincinnati OH. February 10th - April 2nd, 2017. Curated by C.M. Turner.
Epic Drama of Adventure and Exploration, porcelain, PVD, wood, cut paper, formica, neon, 60" x 48" x 30", 2016.
Joshua Tree, Lequeu Redoux, porcelain, wood, cut paper, formica, gold luster, 24" x 42" x 16", 2016.
Double Dresdner Music Lesson, porcelain, neon, wood, 10.5" x 12" x 6" each, 2015
"Moon Over Peters Pond", porcelain, wood, marble, formica, neon, cut paper, 78" x 48" x 24", 2016.
"Paradise Valley" porcelain, hand cut paper, LEDs, wood, plexiglass, 28" x 26" x 10", 2015.
"Image of Order" installation views from The Sculpture Center. Hand cut paper, LEDs, porcelain, plexiglass, wood, formica, 10' x 8' x 2.5', 2014.
"Image of Order" Made in collaboration with Chris Vorhees. Hand cut paper, wood, Formica, porcelain, LEDS, plexiglass, 10' x 2.5' x 8', 2014.
Image of Order is inspired in equal parts by 2001: A Space Odyssey, James Turrell, and the English Neo-classical rooms at the Metropolitan Museum of Art in New York City. The idea was to build a period room on wheels that referenced the monolith – a large black box that opens into another world, somewhere in an alternate future. The final object is a period room without a period, the interior suggesting a time and a place that is both alien and familiar. French landscape wallpaper is re-imaged through hand cut paper, adding time and labor to a room that seems untouched and almost stark. Two moons are added into the landscape, along with the visionary architecture of Boulle. Playing off of iconic interiors grounds the piece, while the lit base and niches seem to push out into space. The interior walls have a subtle curve, obscuring the familiar.
The interior niches contain porcelain statues of Michelangelo’s David, in a transformative state. Similar to typical Neo-classical interiors, the sculptures both set and distort the scale of the room. The exterior of the monolith is covered in black mirrored formica, allowing the viewer to see themselves in it’s reflection, a small substitute for not being able to go inside.
Grand Theft, by Guy Michael Davis and Katie Parker, is a two-part installation utilizing the common spaces within The Carnegie to exhibit re-translation of artworks and lithophanes, or images worked in and revealed with backlighting. The artists have worked collaboratively, primarily in ceramic media, using three-dimensional scanning processes to "catch" famous works from around the country for re-translation. Both artists are use photography as the fundamental tool for creating objects. For Grand Theft, the artists interpret several iconic pieces on display elsewhere. Because their subject matter is often bound to another environment - objects are against walls or behind stanchions - they necessarily use low-grade photography equipment, both portable and unobtrusive. Missing data in these photo captures is caused by the obstructions in the artwork's "home" environment and become as interesting as the artwork itself.
"Grand Theft, Benjamin Franklin", hand cut paper, porcelain, and wood, 53"x26"x7", 2015
"Katie Parker and Guy Michael Davis", solo exhibition at Belger Arts Center/Red Star Studios in Kansas City, MO. October 5th - January 26th, 2013.
For their upcoming Kansas City installation, Parker and Davis visited the Belger Arts Center and Red Star Studios along with the Belger Foundation art collection. Responding to the works they found, Parker and Davis are creating new work using archival molds found at the Rookwood Pottery in Cincinnati.
The Living Room, Contemporary Art Center, Cincinnati Ohio. May 18th – September 2nd, 2013. Collaborative exhibition, curated by Justine Ludwig. Fireplace made in collaboration with Terence Hammonds and Rookwood Pottery.
An exciting project addressing the concept of place-making through a series of room vignettes, each involving the viewer in an intimate conversation with the space and the work. The Living Room features site-specific installations, prints and decorative objects by local artists whose unique practices overlap with contemporary craft—Paul Coors, Guy Michael Davis, Terence Hammonds, Katie Parker, and design collective Such + Such. Delicately tethering themselves to Cincinnati's rich history of decorative craft production and skilled artisanal trades, these artists have forged their own paths by breaking new ground, each taking dynamic new approaches in redefining traditional processes and traditional spaces. They remix materials and content, inject whimsy and subversion into the aesthetic conversation, creating natural and unnatural tensions that draw the viewer in and beg for closer inspection.
The Living Room Fireplace was acquired by the Cincinnati Art Museum, Cincinnati OH in the spring of 2018.
"Still[ed] Life", solo exhibition in the Sinton Gallery, Taft Museum of Art, Cincinnati OH. August 5th - October 16th, 2011.
Porcelain still lifes overflowing with exotic fruit, flowers, animals, and other curiosities will reflect on the passion for collecting evidenced in 17th-century Dutch still-life paintings, such as the Taft's still life by Balthasar van der Ast. The work will draw on the artists' fascination with taxidermy and the natural order as well as their focus on ornament, detail, and craft. An edition of ten hand-painted porcelain busts, directly scanned from Hiram Power's marble bust of Alphonso Taft in the Taft collection, will evoke decorative arts made throughout Europe during the 18th and 19th centuries.
In a new installation from the studio collaboration of Katie Parker and Guy Michael Davis, Country Club presents works inspired by the history of ceramics and porcelain that create fresh contexts for the iconic signifiers of royalty. References to Medieval hunting scenes and taxidermy will populate the gallery while drawing from porcelain's rich past churning notions of royalty/subordination and predator/prey.
"Future Bonsai" an ongoing collection of porcelain plants hand carved from plaster models. Porcelain, approx. 8 - 12" tall, 2015
"Lithophane Landscapes with Bonsai", porcelain, neon, wood, Formica. 70" x 50" x 24", 2015.
Residency at Bemis Center for Contemporary Art, Omaha, Nebraska. May 1 – July 25th, 2014.
(images of work in progress)
"Zuber's Menagerie" hand cut paper, double stick tape, porcelain, overglaze enamel, luster, taxidermy, wood, 7'x7'x12", 2014
Exhibition: Second Life, June 14th - August 31st, 2014 at Kentucky Museum of Art and Craft. Curated by Joey Yates.
Exploring taxidermy and other uses of the vestiges of animate beings, Second Life presents artistic interventions that disrupt notions about human and animal identity. Through a particular set of art works the exhibition considers various historical and contemporary approaches for the estrangement of nature.
"Gangster's Paradise" 40" x 20" x 8", porcelain, hand cut wallpaper, screenprinted wallpaper, wood, 2014.
Created for Taming Nature, curated by Paul Donnelly for NCECA 2014, shown at the Pritzlaff Building in Milwaukee WI and Red Star in Kansas City MO. "Gangster's Paradise Redux", Hybridity: The New Frontier, curated by Alice Gray Stites for 21C, Cincinnati OH and Louisville, KY.
"Gangster's Paradise Redux" 40" x 50 x 8", porcelain, hand cut wallpaper, screenprinted wallpaper, wood, 2014.
Artists in Residence, The Rookwood Pottery Company, Cincinnati OH. 2012 - 2014.
The artists have access to Rookwood’s archives as well as current production lines produced within the factory. We have been mining both past and present products to alter and refresh them, and to make new work that is a combined vision of Rookwood's interests and our studio practices. Fireplace made in collaboration with Terence Hammonds.
"Jingdezhen", work made in Jingdezhen, China while in residence at The Pottery Workshop, June - July 2012.
"Hy-Que Monkey in Captivity", porcelain, china paint, luster, wood, handprinted wallpaper, 28'x4'x8", 2011.
Exhibition: here, Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA.
here. is an exhibition that considers how “place” is not simply the geographic locality where an artist lives and works but also the juice of lived experience—the subject matter, material, concepts and freedoms that this space provides. Recognizing how place influences and infiltrates each artist’s work in diverse and complicated ways, here.explores how a sense of place exists in the work of artists from six particular regions—Philadelphia, Cincinnati, Phoenix, Raleigh-Durham, Detroit and Kansas City.
"Force of Hound" 5' x 18' x 4.5', die cut paper, screenprinted wallpaper, porcelain, china paint, luster, 2011
Exhibition: Model Citizens, Chelsea Museum of Art, NYC, NY
"Grand Theft (Misfit)", 11" x 8" x 7", porcelain and gold leaf, 2013. Scanned from Johann Gottlieb Kirchner's Lion, Meissen ca. 1732
The first piece from our Grand Theft series, using both high and low three-dimensional scanning processes to literally “catch” historic busts and sculptures around the country for retranslation. Similar to how museums allow artists to sketch and paint on site, we are creating our own copies of the original, while letting the photographic process inform the work.
"PVR's Garden" porcelain, hand cut and die cut paper, neon, yarn, 15' x 6' x 13', 2010
"Composite Composition" porcelain, 2.5' x 7', 2010.
Exhibition: MusicNow with Country Club, Gold Room at Memorial Hall, Cincinnati, OH. Curated by Linda Schwartz
“Hanging Dead Project”, porcelain, die cut paper, china paint, luster, approx. 15” x 20” x 14” each, 2010
"Hanging Dead Project II", porcelain, die cut paper, china paint, luster, 12"x 18" x 8" each, 2010
"Beasts of the Chase" porcelain, china paint, luster, decals, 12" x 7.5" x 8" each, 2011.
Exhibition: Fresh Figurines: A New Look at an Historic Art Form, Fuller Craft Museum, Brockton, MA. Curated by Gail M. Brown
“Lithophane” (Mike and Chewy), 4.5" x 6.5" x .2", porcelain, 2011.
Exhibition: BYOB, Contemporary Art Center, Cincinnati OH, curated by Jordan Tate.
“Monkey Heaven”, 3 dimensional scans from The National Museum Cardiff and our personal collection printed in ABS Plastic, dimensions vary, 2014
Exhibition: (Im)material Artefacts, The National Museum Cardiff, Wales, curated by Sarah Younan.
We'll all take turns I'll get mine, too. This monkey's gone to heaven. Monkey Gone to Heaven, The Pixies.
Katie Parker and Guy Michael Davis work collaboratively as Future Retrieval, and the monkey sculpture they created for (Im)material Artefacts looks like it has just raided an antique shop. The title "Monkey Heaven" was inspired by a pop song by the Pixies; by infusing artefacts with contemporary meaning Future Retrieval are making old objects relevant and tying them into present-day culture. “The joy Future Retrieval have in their work shows in the finished pieces; “maybe I’m the monkey” Davis muses “and I’m in heaven, juggling with these objects, celebrating these things from the past.”
"Rat Snacks" porcelain, transfers, and china paint. 9" x 5" each, 2013. Set of 2.
Luncheon snack sets were the rage in the U.S. in the 1940s-50s. Vintage snack sets will be juxtaposed with those from leading contemporary artists who were invited to participate and whose art is still warm from the kiln.
"Dada Light", 18" x 10" x 8", porcelain, 2009.