owen marc laurion
New Durham, New Hampshire, USA (TEMPORARILY)
Owen Marc Laurion on his parents’ land in New Durham, New Hampshire
Owen Marc Laurion, Mustard Ketchup and Every Cloud in the Sky, 2019. Glazed earthenware, 22” x 14” x 14”
Owen Marc Laurion, Swimming Pool. Swimming. Pool, 2018. Glazed earthenware. 7” x 15” x 15”
Currently I am in New Hampshire where my partner and I are hunkered down, waiting to hear back from employers, inquiring about opportunities, and imagining a future where we can directly interact with and impact our community (wherever that may be). We moved from Albuquerque in June to be closer to family and hoping to find a community to grow with.
A pandemic coupled with the most important human rights movement of a generation puts a lot in perspective. Months into the pandemic it seems I've adjusted my practice to a new way of being. My understanding of time-frames, ambition and the art economy have changed. Along with loss of institutional support, school and gallery closures hit artists who fall into the “young” and/or “emerging” categories hard. I am hoping the arts community and industry will reflect on how we can go forward in an ethical manner. Can we create avenues for a just and equitable art-scape? Can we forge new paths allowing for true representation across communities, form, and content?Dreams of a society rich with art only take shape if we allow all members of society to participate in this visual and aesthetic discourse.
Not having had a studio since March, I’ve had a welcome respite from the rat trap of making and chasing. Researching our visual culture has taken a more ready place in my life again amongst the random daily activities, moving across the country, and looking for a new home.
I cobbled together a small fiber, wood-kiln these past few months and finally got around to firing it two weeks ago. I'm starting to experiment with low fire-wood fire, using high iron clays as well as oxide-heavy washes and glazes. I can't help but see a line of thought, and praxis, between post-fire reductions (raku), reduction cooling, and the natural reduction patterns of wood firing. Exploring limits and boundaries.
Owen Marc Laurion, Keep Going West, 2017. Wood fired stoneware, glazed.20” x 13” x 11”. “In this piece, and the two others shown here, I've been experimenting with high alumina glazes with cobalt, at both high and low temperatures.”
during the pandemic, OWEN MARC LAURION relied on some old tricks and new perspectives in a new mixeD-media series relating to landscape, narrative fallacies, image, and meaning
Owen Marc Laurion, Untitled, 2020. Plywood, terracotta, clay, glue, guy-line, air-filter. 10” x 6” x 2”
Owen Marc Laurion, Scorched Sky Policy, 2020. Plywood, burner path, terracotta, resin, photos, copper wire, resin, silver paint. 12” x 12” x 3”
Owen Marc Laurion, Niche #1, 2020. Plywood, OSB, photo, plaster, various paints, drywall screw, charcoal, pencil. 12” x 12” x 3”
Owen Marc Laurion, Somewhere Like This, 2020. Burnt plywood, photos, drop cloth canvas, primer paint, charcoal pencil, clay, resin. 12” 1x 12” x 2.5”