The Art
of Bonnie Lynch
1. Wind Vessel
Saggar fired clay
26” x 17” x 17”
Bonnie Lynch, 2019
2. Reliquary
Saggar fired clay
26” x 18” x 18”
Bonnie Lynch, 2019
3. Orb
Saggar fired clay
23” x 19” x 20”
Bonnie Lynch, 2019
4. Sphere
Saggar fired clay
19.5” x 22” x 22”
Bonnie Lynch, 2014
5. Scallop, Vertical
Saggar Fired Clay
26” x 27” x
13”
Bonnie Lynch, 2014
6. Scallop,
Horizontal
Saggar Fired Clay
11.5” x 24” x
24”
Bonnie Lynch, 2014
7. Constellation
Saggar fired clay
22” x 18” x 13”
Bonnie Lynch, 2019
8. Cloud Vessel
Saggar fired clay
21” x 17” 19”
Bonnie Lynch, 2019
9. Winter Oval
Saggar fired clay
18” x 21” x 12”
Bonnie Lynch, 2019
10. Coleoptera 1
Saggar fired clay
8” x 21” x 12”
Bonnie Lynch, 2019
11. Coleoptera 2
Saggar fired clay
10” x 21” x 10”
Bonnie Lynch, 2019
12. Shell Form
Saggar fired clay
11” x 22” x 11”
Bonnie Lynch, 2019
Artist’s
Statement
Beauty
as an invitation to stillness may come at any moment. Whether arrested by the
perfection of a Darkling beetle or the clarity of a perfect aria, beauty has
the capacity to suspend the moment.
Layering clay is like this. I am interested in beauty, in the simplicity
of form, and in the processes of stillness.
Early
in my work I was drawn to the vessel. As ancient as earth itself, the vessel
requires a quiet, focused attention to build. And importantly, through its
essential nature I am able to experience space as an undeniable material unto
itself, where the volume of silence surrounding the form and that held within
is integral to each work.
The
large forms I place directly on the ground alter their space as well as our
relationship to that space when we move around them. It is this tangibility,
the making aware of oneself through form and volume, and the space we occupy,
that I return to again and again. Vessel and volume, earth and air given up to
the determination of fire, bring me to the place of beauty and stillness we
inherently recognize.
Biography
Bonnie
Lynch lives and works in Santa Fe, New Mexico. The minimal, spacious desert
environment of her native West Texas has long inspired and formed her
work. Eleven years in New York City
furthered her career, yet ultimately she returned to the Southwest and its
primary sources of her studio.
She
has worked over thirty-five years in clay and has exhibited widely including the
Louvre Museum, Paris, and installations in Santa Fe, New York, Austin and
Houston.
Collections
holding her large ceramic vessels include the Haags Gementemuseum, the Hague,
Netherlands, the Menil Collection, Houston, Texas, the Judd Foundation, Marfa,
Texas, the San Angelo Museum of Fine Art, San Angelo, Texas, and the Robert
Wilson/Watermill Foundation, New York.
A
passion for ongoing travel in Africa and Japan continues to inspire her
aesthetic and focus on beauty in its manifestation of stillness and simplicity
of form.
