ARTIST STATEMENT

Curious Vessels  

I have always been attracted to the vessel in its multiple meanings – the vessel as a conduit, a container, and as a keeper of an essence. My use of vessel forms, even as a stand-in for the human figure, continually appears in my collage drawings and three dimensional pieces, and I see it as the unifying element within my work. 

Because I come from a family of collectors, this attraction most likely began in my childhood. I was surrounded by many beautiful objects, predominantly pottery, so it is no surprise that my first serious attempt at art-making was as a potter.  I soon realized that I was not interested as much in vessels as functional containers, but more for the ideas they communicate. Vessels can convey concepts of nurturing, cultural rituals, and the relationship to our own bodies. I often use vessel forms in a symbolic or metaphoric manner.                                                                                      

In the past, the subject of my abstract, biomorphic work often alluded to my discomfort with man’s biological interferences. Darker themes were present, often expressed in my use of drab color palettes and tangled forms. However,  although I am still just as deeply concerned with ecological issues, I now choose to express these concerns in a more light-hearted manner. I use brighter colors and mix into my abstract work more realistic looking botanical elements. These are very common elements–seed pods, pine cones, nests and leaves, which are often overlooked in our yards and neighborhoods, even though they are critical to the health of the food chain. After collecting these dry and withered botanicals in the fall, I transform them by dipping them in a clay slip mixture and firing them in a kiln. I love that the result of this effort is a one-of-a- kind cast, and celebrates the unique qualities of each piece. My application of shiny, unnaturally colored glazes to these pieces, I believe, draws attention to these objects. Their beauty and delicacy, underlines their vulnerability, just like all the flora and fauna on our fragile planet. 

ARTIST BIO

Melody Evans studied for four years at the San Antonio School of Art and Craft and started her career as a potter but soon moved into making sculpture, large scale installations and drawings with collage and digital manipulations. This change coincided with her pursuit of a Master’s degree in the influential area of Northern California.  Evans studied with nationally acclaimed artists Robert Brady and Stephen Kaltenbach, and has received numerous awards in her career; including first place in the National Visions in Clay, awarded at the University of the Pacific in CA. Her drawings have also been awarded in several regional shows in the St. Louis, MO area, where she now resides. She was represented by the notable Northern California gallery, Solomon Dubnick, until its retirement. Her work is in numerous public and private collections, including the Moog Collection at the Racine Art Museum, the Paul F. Dauer Ceramic Collection, the Sony Kamm International T-pot collection, and the permanent collections at the William and Florence Schmidt Art Center Museum and the Swope Museum in Terre Haute,Indiana.   In this region she has large-scale permanent installations at St. Louis Children’s Hospital, National Great Rivers Research and Education Center, Alton Illinois, SSM Health St. Louis University Hospital and the New St. Mary’s Hospital in Jefferson City, MO.   She taught art for many years at several regional colleges and universities.

Press

On View: Fall Exhibitions 2023 – Gazelle Magazine

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