Carolyn Beron
Carolyn Beron · Source: New York Artists Circle · Rights retained by the original rights holders
- Medium
- Clay, Found Objects, Metal, Wood
- Practice
- Ceramics
Bio of Carol Beron. Full biography
Biography
Bio of Carol Beron.
Beron’s adult life has been immersed in the visual arts.
At first with drawing and painting, then fiber art, and , at present, with ceramics which combine clay, with drawing, painting and some fiber art techniques.
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In 1970 became involved with fiber art , and while living in Jerusalem, designed and began a cottage industry manufacturing fiber insets as cumberbunds and straps for clothing —RIKMA HANNANEL. (a popular Israeli women’s clothing company.) showed the finished garments (combination of cloth and woven insets) in Versailles.
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FIBER SCULPTURES
Received commissions for one of a kind, often very large works for new offices, department stores and other public lobbies.
Some include: Foleys , Gimbels, Burdines, Hechts , Quebec travel office Rockefeller center NYC, hospital lobby Louisiana -among many others often after completing commission, traveling to site to supervise installation.
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Created quilt in memorial for friend ’s passing during 9/11 disaster. Quilt travelled to Japan and is in private collection
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CERAMICS
Created clay forms, then altered, and ,with the addition of hand building techniques , built sculptural clay pieces.
Use of drawing and etching techniques —then using layers of underglaze as paint and glaze to create depth,.
Works appeared in the Tokyo/New York ceramic competition
Many private collections in the United States
One woman show in Oaxaca, Mexico Artesanias ARIPO de Oaxaca Sept/Oct 2016
Artist statement
Nature, repetition ,the earth’s formations and LIGHT, as it falls upon nature ,inspire me.
Light seems to change objects , causing each one to have a stark and deep life of ITs own!
I notice these things, take them in, and translate these visual , and mental images into clay, often with drawings , carving and textures onto the form’s surface .
My work is more spontaneous than mapped out and if my brain translates through my hands and then into the clay without much forethought, I feel successful in my expression
giving my work a “life of its own!”
