Experience tells me that potters and their patrons generally conceive of ceramic objects as existing in intimate settings. This is logical because clay forms and functional pots have a long history of nurturing their users. Our sense of appropriate scale grows from the common perception that pots have a natural size. They need to be held in the hand to function. When the clay object is enlarged or miniaturized the result can be disarming to the viewer. Although this can lead to a positive tension between the object and user, it is not the relationship I seek. I want my intent to be clear. This is an object environment in which the viewer dwells. We are asked to reverse our usual relationship with ceramic forms. They remain clay but they evoke the memory of architecture not pottery.
Walter Hyleck 3477 Scaffold Cane Rd. Berea, Ky. 40403 home, 606/986-3463; office, 606/986-9341, x5531 email@example.com EDUCATION MFA l967, Ceramics and Art History, Tulane University, New Orleans, LA BA 1965, Art and Art History, Cum Laude University of Minnesota, Duluth Duluth, MN EMPLOYMENT Berea College, Louis Belknap Professor of Fine Art Full-time teaching l967-present Chairman, Art Department 1984 - present Director, Ceramic Apprenticeship Program 1971-1985 SELECTED LECTURESHIPS , WORKSHOPS CONDUCTED and GRANTS RECEIVED -Resident Artist, Edna Manley School of the Visual Arts, Institute of -Jamaica; Kingston, Jamaica 1991,1992 -Al Smith Fellowship, an award to support the endeavors of artists. -Nat. Endowment for the Arts and Kentucky Arts Council, 1989 -Visiting Artist, Mississippi State University; Columbus, MI l986 -Surdna Foundation; Grants to artists for the support of apprentices, 1985 -Guest Artist, John Abbott College; Montreal, Quebec l979, l976 -Visiting Artist, University of Minnesota, Duluth, MN l974 -Guest Artist, International Ceramic Symposium, at Memphis Academy of Art, 1973 sponsored by, The International Ceramic Society of Geneva, Switzerland -Visiting Artist, American Crafts Council workshop, Arrowmont Crafts School; Gatlinburg, TN l97l SELECTED EXHIBITIONS -Survey of Southeastern Ceramics, 1994; Moody Gallery of Art, University of Alabama, Tuscaloosa, AL -Winter Show, 1993; Pewabic Pottery, Detroit, MI -Teapot: The Concept and Approach, 1993; Indiana University Southeast, New Albany,IN -Functional Ceramics 1993: a retrospective; Wayne Center for the Arts, Wooster, OH -South Carolina/Kentucky Exchange Exhibit: 1992; South Carolina State Museum, Columbia, SC -Slusser Gallery, Dept of Art and Architecture, University of Michigan; Ann Arbor, MI 1990 -Form and Function II: National Teapot Exhibition 1990; Craft Alliance Gallery, St. Louis, MO -Focus on Form 1987-88; Los Angeles Museum of Craft and Folk Art, and Owensboro Musem of Fine Art -Ceramics/Sculpture Invitational 1986; Krannert Gallery, University of Evansville, Evansville, IN -Function in Clay: New Works l983 NCECA Exhibition; Georgia State University, Atlanta, GA -Southeastern Ceramics, Fourteen Potters l983; Virginia Tech., Blacksburg, VA -Architectural Ceramics l980; Dimock Gallery, George Washington University,Washington, DC -The Harmonious Craft, l978; Renwick Gallery, Smithsonian Institution, Washington, DC -Objects of Play l978; Pennsylvania State University, State College, PA -Southeast Crafts Invitational l974; Greenville County Museum, Greenville, SC -Exhibition 280 l974; Huntington Art Gallery, Huntington, WV -Young Americans l969; Museum of Contemporary Crafts, New York, NY -Wichita National Crafts Exhibition l966; Wichita Art Center, Wichita, KS
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