Shed Light (2024)
Exhibition at the Clay Studio of Missoula in Missoula, Montana.
Shed Light (2024)
Show Description
Shed Light is Matthew O’Reilly’s residency exit exhibition and is an iterative exploration of a self-portrait. This work transcends traditional limits of self-portraiture, inviting viewers to engage with the tangible and the intangible aspects of identity, memory, and emotion. Each piece is a fusion of form and function, where the vessel becomes a canvas for personal expression and the individual's place in a broader society.
Drawing inspiration from diverse sources such as mythology, folklore, and contemporary issues, each piece becomes a story, inviting viewers to contemplate the complexities of the human condition. Specialty firings were used to imitate aged surfaces while playfully inserting human form, historical reference, distortion, and colorful adornment. From the subtle nuances of facial expression to the intricate textures of surface decoration, these portraits reveal the intricacies of identity and the fluidity of selfhood.
As functional objects, these ceramic self-portraits invite tactile interaction and sensory engagement. Each piece becomes a conduit for connection and reflection, bridging the gap between the artist and the viewer. Ultimately, the work serves as vessels of introspection and dialogue, inviting viewers to explore their own reflections within the contours of clay.
Shed Light is Matthew O’Reilly’s residency exit exhibition and is an iterative exploration of a self-portrait. This work transcends traditional limits of self-portraiture, inviting viewers to engage with the tangible and the intangible aspects of identity, memory, and emotion. Each piece is a fusion of form and function, where the vessel becomes a canvas for personal expression and the individual's place in a broader society.
Drawing inspiration from diverse sources such as mythology, folklore, and contemporary issues, each piece becomes a story, inviting viewers to contemplate the complexities of the human condition. Specialty firings were used to imitate aged surfaces while playfully inserting human form, historical reference, distortion, and colorful adornment. From the subtle nuances of facial expression to the intricate textures of surface decoration, these portraits reveal the intricacies of identity and the fluidity of selfhood.
As functional objects, these ceramic self-portraits invite tactile interaction and sensory engagement. Each piece becomes a conduit for connection and reflection, bridging the gap between the artist and the viewer. Ultimately, the work serves as vessels of introspection and dialogue, inviting viewers to explore their own reflections within the contours of clay.
Photos by Rio Chantel Photography www.riochantel.xyz
