12 WalterGropiusMasterArtist Series Presents Mark Pharis Exhibition March 7 2015-May 3 2015 Public Presentation April 23 2015 at 700 pm Workshop titled Two Dimensions to Three Dimensions and Back Again Function Context and Process on April 24-26 2015 9 a.m.-4 p.m. See workshop description at hmoa.orgeducationwalter-gropius-master-artist-workshops Mark Pharis Teapot 2012. Earthenware 10.5w. x 6.25d. x 5.5h. Image courtesy of the artist. About the Artist Mark Pharis was introduced to ceramics in the fall of 1967 as an undergraduate at the University of Minnesota Minneapolis MN. While still finding his way around the art department Pha- ris was encouraged to study under renowned functional ceramist and professor Warren MacKenzie. Pharis had a transformational experience drawn to his mentors ability to eloquently combine form and function within a structured set of rules. He graduated in 1971 and established a pottery studio in the rural outskirts of Houston MN. For more than a decade Pharis created functional pottery thrown and fired in a wood and oil-fired kiln and was employed by various Midwestern universities as a visiting artist. Pharis reconnected with the Department of Art at the University of Minnesota in 1985 this time as a professor. He served as Chair of the department from 1998-2004 and as the Associate Dean of the College of Liberal Arts from 2004-2008. His exhibitions are numerous and his work can be found in the collections of the Victoria and Albert Museum London England Gardner Mu- seum Toronto Canada Arizona State University Tempe AZ and Los Angeles County Museum of Art among many others. Pharis resides in Roberts Wisconsin. About the Artists Work Internationally recognized ceramic artist Mark Pharis has been making functional pottery for more than 40 years and is particularly interested in the wide range of objects used in do- mestic environments enduring themes such as vases cups tea- pots and plates. Phariss process is inspired by geometry and relies upon two-dimensional paper patterns a process that owes much to the traditions of patternmaking found in sewing and sheet metal work. Ultimately constructed from clay slabs these earth- enware forms possess a dynamic and engaging presence that goes beyond utility and surface decoration. The endless variations of these familiar objects enrich our everyday lives and in a broader sense help to shape our cultural identity. Archeology and history suggest that humanitys need for functional clay vessels is noth- ing short of eternal our own culture is no exception. However the efforts of contemporary clay artists are shifting as industry assumes more and more manual tasks refocusing our own basic utilitarian needs.