EDUCATION
2017-2020
WAYNE STATE UNIVERSITY, COLLEGE OF ART AND ART HISTORY, DETROIT MI
Bachelor of Arts in Art History, minor in Studio Art, focusing in ceramics
PROFESSIONAL AND WORK EXPERIENCE
Pewabic Pottery, Detroit, Michigan
Glaze Technician
2023
AIR C.R.E.T.A ROME, Rome, Italy
MARCH-APRIL 2022
AIR INTERNATIONAL CERAMIC STUDIO HUNGARY, Kecskemét, Hungary
FEBRUARY-MARCH 2022
YAIR AT GULDAGERGAARD INTERNATIONAL CERAMIC RESEARCH CENTER, SKÆLSKØR, DENMARK
OCTOBER 2021- JANUARY 2022
Studio assistant and live in resident working in production, studio maintenance and social media product photography
2019- 2020
ART COORDINATOR FOR DETROIT WRITING ROOM- DETROIT,MI
Communicate with artists, coordinate gallery installation and openings/receptions
2019-2020
SECRETARY FOR THE WAYNE STATE UNIVERSITY CERAMICS GUILD
Event management, general communication
2019
PRODUCTION STUDIO ASSISTANT FOR MARNA MCGLINN CERAMICS- BERKLEY, MI
Decoration including stamping, sgraffito & glazing, studio maintenance
2019
Summer Studio Tech for Professor Jose Arenivar-Gomez-Wayne State Univerity
Clay and slip making, kiln firing, general studio maintenance
EXHIBITION & CURATION
APRIL 2022
CRETA ROME Residency Exhibition, Rome, Italy April 23rd 2022
AUGUST 2021
Curator & Artist For My Ego, The Glastonbury Collective, August 27th 2021
MAY 2020
Undergraduate Virtual Exhibition, Wayne State University, May 1st, 2020
APRIL 2020
Co-Curator for Interpretations of Home virtual gallery from Wayne State University Ceramics Department, April, 2020
FEBRUARY 2020
HamHouse Art show, Hamtramck, MI, February 15th, 2020
DECEMBER 2019
Advance ceramics final exhibition, Wayne State University, December 11th,2019
OCTOBER 2019
Intermediate Ceramics wet clay installation F**k You, You Don’t Get to be an Immortal Being, Wayne State University, October 2019
(Can I) Follow My Gut, 2021 exhibits my relationship with self doubt. The dual cavities on the vessel battle against each other to be filled. The user can attempt to balance the vessel however the handle and versatile resting position reflect the inaccessibility for true constant balance in life. The semi reflective metallic surfaces of all the vessels embody a callous industriousness the cost of which is reflected in our bodies. Pour My Heart Out, 2021 expresses both adoration and resentment. The title is both a reflection of my actions as well as a command to the user holding Heart Out. This is a two cavity vessel with a hollow handle. The flow of water is constricted when poured depending on the amount of liquid in the vessel. Water throughout this series represents time passing as well as a psychological mixing of memory and perception. Water will be poured in and out, but while in the vessel it can hold the psychological state of the user to imprint onto the piece. She’s a Pisser, 2021 displays more immediate repercussions. Water flows freely through this vessel. In contrast to My Gut this work expresses decisive and flamboyant action. Pisser exhibits a chaotic and bombastic sense of ego that can be as rewarding as it is consequential.Hold on to You examines how the relationship to self is repressed under American capitalism. In the context of installation the blood pumping organ sits on top of a pile of ties and a collared button down shirt. The piece represents a soul organ amongst the repetitive cycle of work for survival dressed up in luxury fashion goods. The vessel itself has two hollow handles that when poured on either side, feed back into the opposing cavity. This function expressed the struggle to find and nourish self outside of work and consumption of luxury goods within a state & culture of capitalism. Sit, 2020 is an interactive sculpture that is simply intended to be a place to sit. The sculpture is covered in various textures and invites the user to touch and explore the piece. In opposition to Sit there is a mirror which reflects only the viewer when seated. Perhaps while immersed in the aesthetic and textural encounter the user can glance themselves reflected into the world. Sit aesthetically embodies art that removes one from the world momentarily. However the practice of sitting on the sculpture and using it simply as a place to sit grounds the work in contrast to escapist art. The maximalist decoration across Sit focuses around contrast between metallic and rough glaze and overgrown flora, toxic foam against velvet and pearls.Burgeoning, 2019 bubbles upward reaching into a new limb. The gold flakes away like shedding skin which also represents the fleeting guild of making a change. Exploring, 2019 wanders through space, turning new corners and the limb develops more autonomy and creature-like movement. Returning, 2019 falls back on itself creating a bodily form with bent back but trudging forward
Avery Campbell 