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2007"在東方”中美藝術(shù)家聯(lián)展
暨北京學(xué)宜座畫廊落戶大山子藝術(shù)區(qū)一周年展
開幕時間： 2007年7月21日，星期六下午2：30PM-6：30PM
展覽時間： 2007年7月21日-8月17日
地點： XYZ 畫廊，798大山子藝術(shù)區(qū)D06-6 ( 010 8459 9299)
發(fā)起人：許以祺 策展人： 范學(xué)宜 成國琴
參展藝術(shù)家：黑特里（美國陶藝藝術(shù)家）、米雷恩（美國陶藝藝術(shù)家）黨中國（當(dāng)代水墨藝術(shù)家）、馮鐘云（當(dāng)代水墨藝術(shù)家）、石建國（當(dāng)代水墨藝術(shù)家）
美國陶藝藝術(shù)家簡介— 黑特里
1999 美國俄亥俄州的保齡綠洲大學(xué)獲得藝術(shù)系學(xué)士學(xué)位
2002 美國加州圣何塞大學(xué)獲得藝術(shù)碩士學(xué)位，專攻陶藝
2004 在美國加州蒙特里半島學(xué)院教授高級燒陶媒介
2005 繼續(xù)教學(xué)并在美國多家大學(xué)陶藝工作室工作
2006 在美國多家大學(xué)陶藝工作室工作
2007 在美國新墨西哥大學(xué)工作室工作
2008 應(yīng)邀在中國富平陶藝博物館美國館進(jìn)行陶藝創(chuàng)作
自2001年來在美國多家陶藝和雕塑雜志發(fā)表過文章
參加在美國和韓國的陶藝展近二十多次
大學(xué)期間多次獲得獎學(xué)金，美國多項藝術(shù)獎獲得者
“漁網(wǎng)、長襪、 羊角和摩托車氣罐是作品中一系列的符號，這些符號是吸引觀者對形式和表面的異域混合的注意力。將手臂、腿和其他人物元素作為建筑框架來創(chuàng)作外形結(jié)構(gòu)更大 的作品，如魚骨、心臟以及其他抽象形狀。將想象力融入作品使我能夠?qū)⒏噍^小的元素建構(gòu)成有規(guī)模、單一的形式。 這種建筑性的作品似乎是從技術(shù)上對陶藝工作室環(huán)境的一種挑戰(zhàn)，同時也滿足了我對形式的好奇感。通過這些作品，我意在吸引觀者的感官，進(jìn)而挖掘?qū)ξΦ臒o限遐想。” ——黑特里
美國陶藝藝術(shù)家簡介—米雷恩
1998- 2001 美國蒙大拿州立大學(xué)藝術(shù)系碩士學(xué)位
2002- 2005 美國蒙大拿大學(xué)藝術(shù)系碩士學(xué)位.
2005 蒙大拿大學(xué)陶藝專業(yè)任助理教授
2005-2007 蒙大拿大學(xué)柴燒陶項目組訪問學(xué)者及藝術(shù)家
2007 中國富平陶藝博物館美國館受邀駐場藝術(shù)家
曾參加全美各種陶藝展覽十余次
獎勵：蒙大拿藝術(shù)委員會頒發(fā)的職業(yè)發(fā)展獎
收藏：蒙大拿藝術(shù)與文化博物館
“我們生存的世界充滿著既有混亂、殘忍與敵意，也有美好與關(guān)懷的良好榜樣。我們盡力去保護(hù)我們所珍視的，常常我們的努力卻偏離了我們的初衷。正因此，作為一名藝術(shù)家，我愿意去選擇為我們創(chuàng)造和給與的這個世界奉獻(xiàn)。
泥土無論是在陶藝制作的過程還是形成的最終作品，它為我們提供去發(fā)掘彼此的關(guān)聯(lián)的機(jī)會。任何時候泥土都能將人類的動機(jī)和自然的發(fā)生同步進(jìn)行，這種材料能讓我們了解人類歷史的全貌：起源、創(chuàng)世紀(jì)、毀滅與最終消亡。它支撐著我們，同時也記錄著我們生存的每一個痕跡。” ——米雷恩
2007"IN THE EAST” SINO AMERICAN ARTISTS JOINT EXHIBITION
& XYZ Gallery Moved to 798 Dashanzi One-year Anniversary
Opening Reception: July 21, 2007, Saturday afternoon 2:30PM-6:30PM
Exhibition Time: July 21 to August 17, 2007
Venue: XYZ Gallery, D06-6-1 of 798 Dashanzi Art Center of Beijing, China (Phone: 010 8459 9299)
Initiator: Dr. Ichi Hsu, Organizer: Fan Xueyi, Catherine Cheng
Participating Artists: Trey Hill (U.S), Ryan Mitchell (U.S), Dang Zhongguo, Feng Zhongyun, Shi Jianguo
Brief Introduction of American Ceramic Artist: Trey Hill
1999 BFA Bowling Green State University, Ohio
2002 MFA Concentrating Ceramics in San Jose State University, CA
2004 Teaching Advanced & Intermediate Ceramics, Monterey Peninsula College, Monterey CA
2005 Continue teaching while participated several workshops in colleges of US
2006 Workshop at Fort Lewis College, Durango, CO, San Juan College, Farmington, NM, etc.
2007 Workshop at University of New Mexico, Gallup, NM
Invited artist in residence for American Museum of International Fuping Ceramics Museum, China
Published articles in Ceramics and Sculpture magazines in the State
Participated 20 more exhibitions throughout U.S, as well as Korea
Obtained scholarship in universities and several art awards recipient in America
“Fishnet stockings, ram horns, and motorcycle tanks are just a few of the symbols used to lure the viewer into this exotic blend of form and surface. Arms, legs, and other figurative elements are often used as building blocks to create larger forms such as wish bones, hearts, and other abstract shapes. Combining imagery in this way enables me to build large singular forms out of many smaller ones. This building approach lends itself to a technically challenging studio environment and also satisfies many of my formal curiosities. Through this work, I’m aiming to seduce the viewer’s senses, while exploring the boundaries of attraction.” --by Trey Hill
Brief Introduction of American Ceramic Artist: Ryan Mitchell
1998- 2001 B.F.A. Montana State University, Bozeman.
2002- 2005 M.F.A. University of Montana, Missoula.
2005 Adjunct Professor: Ceramics II, Anagama. University of Montana
2005-2007 Visiting Lecturer/ Artist. Wood-fire program University of Montana.
2007 Invited Resident Artist: FuLe International Ceramic Art Museums, Fuping, Shanxi of China
More than 10 various exhibitions participated throughout United States
Grants and Awards： Montana Arts Council Professional Development Grant
Collections：Montana Museum of Art and Culture.
“The world we inhabit fluctuates between moments of chaos, brute hostility, and profound examples of care and beauty. Our efforts center on the preservation and protection of what we cherish and value. The implications of our efforts often escape our grasp and intentions, it is for this reason, that as an artist I am interested in how we choose to handle and engage the world we create and are given.
Clay provides an opportunity to explore these relationships, both in the creative process and in terms of the final product. In any given event, clay can simultaneously be about both human intention and natural occurrence. It is a material through which we can understand the full spectrum of human history: birth, creation, destruction and eventual decay. Metaphorically or literally, it serves to ground us, as well as record nearly every aspect of our existence.” --by Ryan Mitchell
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