At SUU’s weekly Art Insights on Thursday, Nov. 12, at 7 p.m., ceramicist Lindsay Oesterritter will give a presentation in SUU’s Gilbert Great Hall within the Hunter Conference Center. The event is free and open to the public.
Using techniques such as erosion and weathering gives unique finishes to ceramics created by Oesterritter, and her distinctive work has been exhibited throughout the United States and Australia. She will detail craft and career during her appearance.
Oesterritter earned her master’s degree in fine arts from Utah State University in Logan, Utah, her master’s degree in art from the University of Louisville, and her bachelor’s degree in art at Transylvania University. She most recently left the positions of associate professor of ceramics at Western Kentucky University to work as a full-time potter and set up her at home studio. Before this, she had the fortune to be a resident artist at Arrowmont School of Arts and Crafts in Gatlinburg, Tenn. and in Australia at Strathnairn Arts Association.
Oesterritter has lectured and exhibited internationally and is continually inspired by the craft community. Recent exhibitions and awards include the 2013 University Award for Research and Creativity from Western Kentucky University, 2013 Award of Distinction from the juried exhibition Functional/Dysfunctional at Morean Arts Center in St. Petersburg Fl., being invited to participate at the Red Lodge Clay Center as part of their 2013 Contemporary Traditionalist exhibition, and being a presenter in 2012 at the Utilitarian Clay Symposium held at Arrowmont School of Arts and Crafts.
Summing her approach to her work, Oesterritter says, “I am intrigued by the slow and natural changes that are constantly yet imperceptibly altering our daily environments; how the seemingly permanent is being perpetually altered through weathering. I find inspiration in commonplace items within my surroundings. My current work is punctuated by the concept of the inseparable relationship form and surface develops though subtle and progressive erosion of time. It is my intention to utilize a reduction cooled wood fueled kiln to highlight form and surface variations, and reference slow and continuous change.”
