Ianna Frisby - "Sound Stone #4"
2018, 6" x 4" x 3.5", Media: Mixed Media, Non-clay, Firing Process: Electric, Mid-range, Surface: Lustre, Non-ceramic
From a series of Sound Stones, this one features fired obsidian oozing from the speaker.
2018, 6" x 4" x 3.5", Media: Mixed Media, Non-clay, Firing Process: Electric, Mid-range, Surface: Lustre, Non-ceramic
From a series of Sound Stones, this one features fired obsidian oozing from the speaker.
Ianna Frisby - "White Chasm (detail)"
2018, 24" x 8" x 6", Media: Porcelain, Firing Process: Electric, Mid-range, Surface: Engobe / Slip / Underglaze, Unglazed
Porcelain wall sculpture inspired by the caves in California. There is one in particular called, "Black Chasm" cave where the speleothems defy gravity creating these 'soda straw" like formations.
2018, 24" x 8" x 6", Media: Porcelain, Firing Process: Electric, Mid-range, Surface: Engobe / Slip / Underglaze, Unglazed
Porcelain wall sculpture inspired by the caves in California. There is one in particular called, "Black Chasm" cave where the speleothems defy gravity creating these 'soda straw" like formations.
Ianna Frisby - "Grotto"
, , Media: Mixed Media, Firing Process: Electric, Surface: Non-ceramic, Unglazed
In the spring of 2016, I traveled to Belize. There, with a Mayan shaman as guide, I paddled a canoe into a partially submerged limestone cave. It was filled with geological formations and subterranean creatures, but it was also considered a gateway to the sacred underworld by the ancients. We saw well-worn footpaths along the side leading up to ledges where human remains and funerary artifacts were left behind. A ceramic olla jar collected drips from a stalactite above, sending echoes throughout the cave. That profound experience sent me on a two-year creative journey in which I began experimenting with cave formations of my own using clay, gems, minerals and found objects.
, , Media: Mixed Media, Firing Process: Electric, Surface: Non-ceramic, Unglazed
In the spring of 2016, I traveled to Belize. There, with a Mayan shaman as guide, I paddled a canoe into a partially submerged limestone cave. It was filled with geological formations and subterranean creatures, but it was also considered a gateway to the sacred underworld by the ancients. We saw well-worn footpaths along the side leading up to ledges where human remains and funerary artifacts were left behind. A ceramic olla jar collected drips from a stalactite above, sending echoes throughout the cave. That profound experience sent me on a two-year creative journey in which I began experimenting with cave formations of my own using clay, gems, minerals and found objects.
Ianna Frisby - "Sound Stone #8 (detail)"
2018, 28" x 14" x 18", Media: Mixed Media, Firing Process: Electric, Surface: Lustre
Traveling to foreign lands and experiencing different cultures previously unknown to me has inspired my artwork. No matter how much one researches a place, nothing can quite come close to the immersive experience of living day to day and moving through a different space with intention. This work was inspired by a trip to Belize where I visited a partially submerged limestone cave that not only held geological formations and bats but also traces of the ancient Mayan who considered such caves gateways to the sacred underworld. In that space, we saw well-worn footpaths leading to human remains and funerary artifacts. There was a ceramic olla jar collecting drips from a stalactite above, sending echoes throughout the cave. Beauty, Curiosity, and Wonderment have become my companions as I strive to create a similar experience for the viewer. The forming of the “Sound stones” begins with what clay naturally wants to do: build up and fall apart. I consider clay’s direct connection to the earth and its geological makeup. Materials get fired and transformed in the kiln at volcanic temperature often with surprising results. But the kiln doesn’t get the last say. Afterward, I add clusters of gems and other mysteries, sometimes literally oozing out of the horn. I imagine the sounds they make and the secrets they whisper.
2018, 28" x 14" x 18", Media: Mixed Media, Firing Process: Electric, Surface: Lustre
Traveling to foreign lands and experiencing different cultures previously unknown to me has inspired my artwork. No matter how much one researches a place, nothing can quite come close to the immersive experience of living day to day and moving through a different space with intention. This work was inspired by a trip to Belize where I visited a partially submerged limestone cave that not only held geological formations and bats but also traces of the ancient Mayan who considered such caves gateways to the sacred underworld. In that space, we saw well-worn footpaths leading to human remains and funerary artifacts. There was a ceramic olla jar collecting drips from a stalactite above, sending echoes throughout the cave. Beauty, Curiosity, and Wonderment have become my companions as I strive to create a similar experience for the viewer. The forming of the “Sound stones” begins with what clay naturally wants to do: build up and fall apart. I consider clay’s direct connection to the earth and its geological makeup. Materials get fired and transformed in the kiln at volcanic temperature often with surprising results. But the kiln doesn’t get the last say. Afterward, I add clusters of gems and other mysteries, sometimes literally oozing out of the horn. I imagine the sounds they make and the secrets they whisper.
Ianna Frisby - "Unit(e)"
2005, 80" x 24" x 24"
Porcelain hand-pulled bones stacked upon each other to make a 'vessel.'
2005, 80" x 24" x 24"
Porcelain hand-pulled bones stacked upon each other to make a 'vessel.'
Ianna Frisby - "Nomad"
2021, 30" x 18" x 12", Media: Mixed Media, Firing Process: Electric, Mid-range
My recent body of work is inspired by the interaction between geological, cultural and spiritual underworlds, and my experiences in such places. In Belize, once I lingered silently in a canoe floating through ancient limestone caves engulfed in darkness and deposited with immense formations and delicate remains of Mayan ancestors who saw the caves as sacred gateways. In Thailand, I remarked upon the painstakingly appointed Spirit Houses found everywhere, including the mouths of remote caves dedicated to local deities. Even in our local foothills, early settlers built a church--complete with a pipe organ--to worship under the great domed vault of California Cavern. I see these places as filled with wonder and mystery. And there’s no better medium than clay to represent them, with its earthy character and long archeological significance. Clay invites excavation and exploration. I myself am constantly exploring new materials and techniques, trying to understand how exposure and heat will transform one thing into another. Each sculpture undergoes its own metamorphosis. Created during Covid, Nomad is rigged with wheels and a sail ready to travel and explore. This show is its maiden voyage. Enjoy the journey.
2021, 30" x 18" x 12", Media: Mixed Media, Firing Process: Electric, Mid-range
My recent body of work is inspired by the interaction between geological, cultural and spiritual underworlds, and my experiences in such places. In Belize, once I lingered silently in a canoe floating through ancient limestone caves engulfed in darkness and deposited with immense formations and delicate remains of Mayan ancestors who saw the caves as sacred gateways. In Thailand, I remarked upon the painstakingly appointed Spirit Houses found everywhere, including the mouths of remote caves dedicated to local deities. Even in our local foothills, early settlers built a church--complete with a pipe organ--to worship under the great domed vault of California Cavern. I see these places as filled with wonder and mystery. And there’s no better medium than clay to represent them, with its earthy character and long archeological significance. Clay invites excavation and exploration. I myself am constantly exploring new materials and techniques, trying to understand how exposure and heat will transform one thing into another. Each sculpture undergoes its own metamorphosis. Created during Covid, Nomad is rigged with wheels and a sail ready to travel and explore. This show is its maiden voyage. Enjoy the journey.
Ianna Frisby - "Inner Kingdom"
2019, 80" x 24" x 24", Media: Mixed Media, Non-clay, Firing Process: Electric, Mid-range, Surface: Glazed
Above ground, Thailand is an overwhelming sensory experience. Amid the aromas and clamor of the street, flashes of color and light tug your eyes in all directions. Shining spires and mirrored mosaics punctuate the sky. Roof chimes ting and corners of gold leaf flutter in the balmy breeze. Vibrant fruit and currency exchange hands in floating markets. Lotuses, marigolds and lit candles are offered daily at spirit houses and temples everywhere. Strands of multicolored fabric drape the sacred Bodhi trees and the figureheads of bobbing longtail boats. Even your food and drink orders are likely to come with a proud purple orchid or an accent of tiny wildflowers. Below ground, however, Thailand is a very different place. Gentle rivers flow through porous limestone caves. The air is cool. There are no smells, no light. Water and minerals form jewellike scaffolds that span millennia. Locals have long explored these beautiful (and sometimes dangerous) places, leaving offerings or artifacts at the entrance or in an alcove before returning to the world of the living. “Inner Kingdom” is my interpretation of this magical liminal space. It was built in sections using paper clay. After several firings, some junctions developed gaps. This was, at first, to my great frustration. But then I was reminded of the common Thai phrase “Mai pen rai,” which loosely translates to “Don’t worry, it’s all right.” I found that golden glue from the humble hot glue gun not only closed the gap but also created rich new veins and textured formations that emulate the drip-drip-drip of geological history. Take your time in the underworld. Look for the many embellishments, found objects and vignettes hidden throughout. Imagine the stories they have to tell. Enjoy the journey.
2019, 80" x 24" x 24", Media: Mixed Media, Non-clay, Firing Process: Electric, Mid-range, Surface: Glazed
Above ground, Thailand is an overwhelming sensory experience. Amid the aromas and clamor of the street, flashes of color and light tug your eyes in all directions. Shining spires and mirrored mosaics punctuate the sky. Roof chimes ting and corners of gold leaf flutter in the balmy breeze. Vibrant fruit and currency exchange hands in floating markets. Lotuses, marigolds and lit candles are offered daily at spirit houses and temples everywhere. Strands of multicolored fabric drape the sacred Bodhi trees and the figureheads of bobbing longtail boats. Even your food and drink orders are likely to come with a proud purple orchid or an accent of tiny wildflowers. Below ground, however, Thailand is a very different place. Gentle rivers flow through porous limestone caves. The air is cool. There are no smells, no light. Water and minerals form jewellike scaffolds that span millennia. Locals have long explored these beautiful (and sometimes dangerous) places, leaving offerings or artifacts at the entrance or in an alcove before returning to the world of the living. “Inner Kingdom” is my interpretation of this magical liminal space. It was built in sections using paper clay. After several firings, some junctions developed gaps. This was, at first, to my great frustration. But then I was reminded of the common Thai phrase “Mai pen rai,” which loosely translates to “Don’t worry, it’s all right.” I found that golden glue from the humble hot glue gun not only closed the gap but also created rich new veins and textured formations that emulate the drip-drip-drip of geological history. Take your time in the underworld. Look for the many embellishments, found objects and vignettes hidden throughout. Imagine the stories they have to tell. Enjoy the journey.
Ianna Frisby - “Archaeoacoustics 2.0”
Mixed medium, 2016
Mixed medium, 2016
Artist Statement
As an artist with a penchant for learning, much of the work I make is about how I am processing a new idea or material. There are so many things in the world I want to know more about - a deeper dive if you will. So it's no wonder that I found myself mostly in the world of ceramics. Clay speaks to me on so many levels with its ties to history, technology, and geology. But sometimes inspiration requires me to go looking outside of my comfort zone and so I've learned to incorporate other mediums into my practice. Sometimes the work begins by finding a particular object at a thrift store. Other times, an idea will get worked out by creating a series or body of work akin to Andy Warhol. A goal of mine is to make work wonderful to view and experience. Whether it be enjoying the labor-intensive embroidering or perhaps finding a golden peach pit in public, my own artistic journey is full of multifarious pursuits of inspiration.
Bio
Ianna Nova Frisby teaches art at Sacramento City College and Sierra Community College while maintaining a studio at the Verge Center for the Arts in Sacramento, California. She received her BFA from Humboldt State University in 1998, an MFA from Cranbrook Academy of Art in 2005. She is the recipient of the Leff-Davis Fund for Visual Artists of the Sacramento Region Community Foundation, a founding member of the Art Advice Booth, and an NCECA sub-committee member.