In this artist’s recent wall works, which explore themes of fusion, interdependence, and tactile pressure, ceramic forms negotiate simultaneous states of bonding and resistance. In this piece, the artist has stacked an array of shapes in fired clay—each airbrushed with soft polka-dots–and pigmented cement. She refers to this under-glaze pattern as “viral,” a word that conjures up the social and biochemical implications of today. This work was created while an artist-in-residence at the Josef & Anni Albers Foundation.
She slip-casts and hand-builds stoneware and porcelain forms that she then glazes and under-glazes with patterns and textures before firing them in a kiln. These applied patterns plug into and interrupt their concrete grids, to form distinct families, or what the artist often refers to as “clanships,” alluding to the work’s references to belonging and dislocation.
In her ceramic series //[Caesura], which references a pause or break, interdisciplinary artist Fawn Krieger embarks on a haptic search to excavate and construct sentences beyond language, to cull forms and knowledge from the body and to record them through actions of touch and imprint. The artist is interested in exploring the ways memory, rupture, and transference are embedded from the body into matter and could be used as grounds for recovery, identification, and re-imagination. Her work is informed by material traditions and vocabularies that span the Cold War to the Cave and invoke themes of primal memory, movement practices, exuberant play, and radical embodiment.
In her ceramics works, Fawn Krieger embarks on a search to excavate and construct—via touch and imprint—sentences that work beyond language. Krieger hand-builds and slip-casts her stoneware and porcelain forms. Her glazing treatments often carry patterns that fall somewhere between visual and textural symbols, serving to establish artistic “families” or systems of belonging or dislocation. Once fired, she binds these clay forms together with concrete (sometimes pigmented), creating a fractured and interdependent logic of natural grids via the object’s contours and gaps.
Fawn Krieger was born in 1975 in Port Jefferson, NY, and lives in New York City, NY. She received her BFA from the Parsons School of Design and her MFA from the Bard College Milton Avery Graduate School of the Arts.
Krieger has mounted recent solo exhibitions at HESSE FLATOW in New York City, NY (2022) and Assembly Room in New York City, NY (2018).
She has also participated in group shows such as The Fuel and Lumber Company presents "8", Laney Contemporary in Savannah, GA (2022); Summer Paper: A Benefit Exhibition at Dieu Donné Gallery in New York City, NY (2021); Glyphadelphia at HESSE FLATOW in New York City, NY (2021); and Omega Workshop: An Experiment In Counter-Fashion at EFA Project Space in New York City, NY (2018).
She was a residency fellow at Kai Art Centre in Tallinn, Estonia (2022) and at the Josef & Anni Albers Foundation (2022), also receiving a Louis Comfort Tiffany Foundation Biennial Award Fellow (2019). Her work has been featured in The New York Times, Artforum, Art in America, Sculpture Magazine, Flash Art, BOMB, Texte zur Kunst, and other publications.
In this artist’s recent wall works, which explore themes of fusion, interdependence, and tactile pressure, ceramic forms negotiate simultaneous states of bonding and resistance. In this piece, the artist has stacked an array of shapes in fired clay—each airbrushed with soft polka-dots–and pigmented cement. This work was created while an artist-in-residence at the Josef & Anni Albers Foundation.More