Lauren Sandler
Bifurcated Struggles StatementOverlooked Artist StatementRe-collections Exhibition 2014Temenos 2012Artifact Series
2009-2010Liminal Spaces: Pause and PossibilityA Ceramic Manifesto:Toward an Expansive Future 2009Abstract Reflection and Ceramics Arts Dailypage 1
"Abstract Reflection" in 
Pottery Making Illustrated
Jan/Feb 2009Page 2
"Abstract Reflection"
Pottery Making Illustrated 
Jan/Feb 2009Page 3
"Abstract Relfection"
Pottery Making Illustrated 
Jan/Feb 2009My Article: Crickets and Clay
In Book: Social Objects
For: Socially Engaged Craft Collective
as part of NCECA exhibition
"Social Objects" at c3:initiative 
in Portland, ORNCECA lecture, 
Recenter:Decolonize the ClayTeaching Philosophy
Writing
Here you will find published articles, artist statements, my teaching philosophy, and selected writings.

Below is my General Artist Statement:

My mother’s long-gone apartment bathroom vanity now remains a vessel of recollections. Pinched from clay, touched and imperfect, hidden artifacts emerge through memories’ alchemy. Relics carry a legacy of dismantling and reconstruction where meaning and purpose shift. Our domestic objects archive cultural evidence as ancestral histories entwine with present moments. With context and narrative, I engender to create from this metaphoric debris. Through fragmented forms, allegoric containers and mundane assemblages, I explore mutable topographies of interior obfuscated terrain and exterior dominant perspectives to share stories erased. In this liminal space, I question our fixed notions of capacity and implicate our assumptions of normal, beauty, and worth.

The discursive vessel conjures the individual and collective body, and the axis upon which viewpoint and significance turn. With archetypal pots and traditional genre, I demythologize status and inscribe substance in detritus. Classical bifurcates traditional as parasitic teacups proliferate to engulf a water bowl. A tureen contains a magical folktale with a soup of interdependence in which we all have nourishment to offer. I examine the place of isolation in juxtaposition to the external world, and investigate containment through interior tableau. A series of windowsills delineate the plane and constraints, while the frame shapes our perceptions. Drawn to the still life and its ongoing transformation, I invoke the parallels to ceramic arts through mutual themes of everyday representation and marginalized critical reception. Both genres convey impermanence with prosaic landscapes.

Through conjoined historic pots torn and layered bit-by-bit, I interweave form, content, and materiality. I envision the ubiquitous nature of clay across era, contemplate replication as the gesture of the hand, and conjure convergence. My work occupies the struggle at the precipice where oppositional elements meet. At this nexus, with laser-cut tiles marked by sound waves of my family home fire, I amplify documentation, and move the gaze from spectator to collaborator. At the interstice of structure and residue, remnants unravel multiple truths, as clay provides a spectrum of possibility where lives manifest in everyday moments and overlooked corners.
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