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Artist Exhibitions:
Hot Chicks: Solo Exhibition
May 2004
Name of Gallery Here
Portland, OR
90th Annual Student Exhibition
April
2004
Fred Jones Jr. Museum of Art
University of Oklahoma
The Arts Thing Exhibition
February 2004
Lightwell Gallery
University of
Oklahoma
Red Clay Faction Exhibition
February 2004
Norman Public Library
Norman, OK
Momentum ...
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
Recipient of Elmer Capshaw
Award
Outstanding School of Art
Graduate 2004
...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Alison Carter
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Using whimsy and sarcasm, I use ceramics and mixed media to explore a variety of issues concerning today’s society focusing mainly on the effects of gender roles on accepted customs and lifestyles. In much of my work, I refer to these issues through the ironic application of common language and imagery to the concept and surface of the piece, allowing the viewer to draw their own conclusions about the issue I am discussing by bringing their understanding of the language to the piece. Through the interactive aspects of the work, viewers are able to experience my point of view on the issue, one prime example being The Game of Love. The point of this piece is fairly obvious, especially while handling the materials, but I pushed the issue further by composing a Game Manual which applies the viewer's understanding of board game procedures to the concept of an official dating game.
While I have been working with language for some time, I recently became interested in the multiple facets of certain ceramic objects. Although I am a hand-builder, and mainly create non-functional objects, I am very interested in the personal roles ceramic objects often have within an individual’s life. So, in the last several months I have begun exploring the semiotic identities of traditional ceramic household objects and their role in people's lives as metaphor. Recently I worked on a series exploring the emotional and psychological connotations of traditional, ceramic piggy banks. I am fascinated by the concept of an object that functions to hold something dear, while at the same time functions as a barrier, a barrier so extreme that it must be broken in order to gain access to the internal contents. The Memory Bank discusses the way people tend to learn from their experiences: storing them up, only to remember and learn from them when they are jarred, or broken, by a traumatic event or history repeating.
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