2015 Work — Indigo Shift

Posted June 18th, 2015 by Nancy and filed in Porcelain Art Gallery 2015

Indigo Shift, Porcelain
20"H x 10"W x 1.5"D
For Museum School Art Auction , San Diego, CA
June 20, 2015

  Porcelain cast from doll dress handmade ca. 1928.  Accent discs also porcelain.  Mountain on block of South American jatoba wood.

2015 Work

Posted June 18th, 2015 by Nancy and filed in Porcelain Art Gallery 2015
Porcelain Dress Relic

Porcelain Dress Relic
21"W x 26"H x 2"D
For Museum School Art Auction, San Diego, CA
June 20, 2015

IMG_1926 (2)

Porcelain Dress Relic Detail

  Porcelain cast from child's dress made in about 1928 by my grandmother for my mother. Accent discs are also porcelain, with metal buttons in the center.  Box is painted Chinese red.  

2014 — 500 Prints on Clay

Posted March 18th, 2014 by Nancy and filed in Porcelain Art Gallery 2010-11

Published in 500 Prints in Clay, Wandless

  Farm Dress Cone 5 porcelain slip.  Silk screen; textured surface with mason stains.


Posted December 17th, 2011 by Nancy and filed in Living Grid Project

The Living Grid Team Luncheon

I couldn't have made Living Grid by myself.  My sister, Rondi Vasquez, began working with me in December of 2008.  Lisa Ellena joined us in early 2009 and the three of us worked until August 2009 to finish the triptych.  During that time, Rondi became increasingly engaged in the project.  In corporate life we would say she took strong ownership.  The picture of her examining the balance of the unfired elements is just right.  She was there fully, heart and mind.  One of the great gifts of my life is to have sisters who care deeply about each other.  I have five of them.  A feast.  A banquet.  And Rondi was in alignment with me on Living Grid.  She knew how important the overall composition was, the color balance, the proportion of dark to light and vivid to pale, occupied to empty.  How important matte glazes were, the degree of stain needed on the windowpanes. When Lisa joined us she brought great strengths, as well as fitting beautifully into a team, even bringing a love of thin porcelain with her.  Her training and nature ensured that her work was skillful and thorough.  She helped to make sense out of the dozens and dozens of test glazes and stains, and the tiles.  She built frames for us to use in assembling the elements, and worked so patiently with slip and clay, the jeweler's beads and wire.  And wax!  So much wax!  I'm sure there were a number of assignments that seemed nutty to her, things I had to try.  She was always so patient and cooperative. At the end of Living Grid, Rondi and I wanted to see how the elements could be placed in a smaller frame, and how we could play with the relationship of the windowpanes to the view, both inward and outward.  Yes, the concept, elements and assembly were what I created for Living Grid, and I was the producer.  But Rondi and I worked so closely on the Windowpane Series  that it felt much more like a creative collaboration.  The pieces were much smaller, and Rondi made many of the elements.  She did the photography for Out West, Eucalyptus, Sky Wire and Gingko, really excellent compositions.  (Out West is pictured on this site and Eucalyptus will be soon.) Rondi and Lisa, thank you both for giving so generously of your talents.  I could not have had a better team. Also instrumental in the project were Christopher Gay (metal frames), Tony Rotter (wood frames) and Karyn Rovner (frame design).  Those who opened their homes to me for photography were: Kris Rowlen, Andrea Richards, Rondi Vasquez, Helen Simmons, Michelle Symeonides, Edward Polk and Karyn Rovner.      

Living Grid Triptych

Posted December 9th, 2011 by Nancy and filed in Living Grid Project

Living Grid Triptych

Living Grid Triptych

39.5"H x 88"W x 4"D

Porcelain, Silk Images on Poster Board Under Encaustic; Glaze, Mason Stains in a Patinated Aluminum Frame

Living Grid, Left Section

Living Grid, Center Section

Living Grid, Right Section

There is inevitably a voyeuristic aspect to this piece.  The images are intentionally in shadow, details not always distinct.  People peer inside, never quite satisfied at what they see.

Living Grid, Close-Up

Living Grid, Side View

I love this view.  The piece is quite disciplined, and the windowpanes express that best.  The stain on these elements across the full width of the piece is its own composition.

Nike I and Nike II

Posted December 9th, 2011 by Nancy and filed in Nike Series, Porcelain Art Gallery 2010-11
Nike I and Nike II are the first in a series.  Nike has pushed its way into the world's imagination, supplanting the goddess of victory with shoes.  And she is an avatar.  I love what she has to say about what the modern woman asks of herself.

Nikes I and II

I think of them as sisters, sharing the bones and indelible family traits, but so, so different.  I have a friend who is looking these over, and I gave her a list of all the attributes of Nike II, and it reads like the accomplishments of the A student, the good sister:  The weight of the verbs is heavy and is matched by the power of Nike's magnificent legs.  I placed a mathematical equation at the waist, indicating the dedication to accomplishment and knowledge, using the legacy of Maria Agnesi to do so.  The flower, feminine and tasteful, ready to go from the office to cocktails without missing a beat.  The skirt has a cut-out quality, acknowledging the unreal, the illusory nature of Nike, playing with the Nike that has planted itself in the public imagination, co-opting fantasies.  I love the tidiness of Nike II, and its own truth. Nike I gets me in the gut.  The skirt carries the image of Nike's legs, placed on a larger, plain shape.  Nike becomes the avatar.  The image of the legs evokes a mood both urban and nocturnal.  The surface is bombarded with those damn verbs; an infant's picture, the color of blood, is at the belly.   Both girls are going, but this one has a much more visceral motive.  (Nike I sold, week of 12/5.)  

Doll Dress, 1930

Posted November 22nd, 2011 by Nancy and filed in Porcelain Art Gallery 2010-11

Doll Dress, 1930

This could have been my mother's dress, but since the tattered little garment was found in a pillowcase with doll dresses, that's what I'm calling it.  It's certainly larger than most doll dresses.  The stitching is still visible on the hem of the porcelain version.


Doll Dress, 1930

16 1/2"H x 15 3/4"W x 2 3/4"D

Glazed porcelain with encaustic detail on the belt

Doll Dress, 1930, side view

Doll Dress, 1930, right side

Windowpane Series – Quiet House

Posted November 22nd, 2011 by Nancy and filed in Windowpane Series

Quiet House

The photos have a stillness within a quiet palette.  The curtains have a motionless vitality as well.

Windowpane Series - Quiet House

31"W x 8 1/4"H x 2 1/4"D

Baltic birch frame, custom laminated

This piece is best left free-standing, but can also be wall-hung.  Two keyholes are drilled into the back of the piece so that it hangs flush to the wall.  The frame has removable plates from which the porcelain elements are suspended.

Quiet Home, right side

Quiet Home, Close-Up

Windowpane Series – Out West

Posted November 22nd, 2011 by Nancy and filed in Windowpane Series

OUT WEST  (Photography by Rondi Vasquez)

Windowpane Series - Out West

31"W x 15 1/2"H x 2 1/4"D

This piece captures Southern California on a sunny day.  The photo is altered to give it the feel of a set with an almost unreal blue sky.  The windowpanes have a sun-bleached quality, and the curtains have a patina of age as well.

Porcelain elements with mason stains and encaustic medium surface decoration on curtains.  Edited photo on silk attached to translucent porcelain with encaustic medium.  Baltic birch frame, custom laminated.

Out West, curtains

Out West, angle

Out West, close-up

Nike I

Posted October 5th, 2011 by Nancy and filed in Nike Series, Porcelain Art Gallery 2010-11
GOING This piece incorporating the skirt of Nike/Winged Victory is the first in a series.  It looks at what we imagine for ourselves and what influences our imagination, in the context of a modern woman, a working woman.  Here, the image is juxtaposed on a larger form.  Underlaying both top and skirt is a tapestry of work verbs, drenching the elements, giving them a vibration.  The top adds to the theme of Going.  It's a sketch, and the simple lines of the shape with a raw finish add to a sense of Going - even hurrying.



21"H X 8.5'W x 2"D

Surface decoration is mason stains and underglazes.