Summer 2018: June 28–August 19, 2018
Make Someone’s Day was a dynamic creative initiative, featuring a community art studio and a weekly series of creative workshops. Located at Findlay Market, this social art project gathered overlapping and intersecting communities around collaborative gestures of appreciation and empathy creating opportunities for personal enrichment, new connections, and shared experiences. Our project invited participants to nominate Greater Cincinnati locals to be honored with handmade porcelain flower arrangements. We then offered visitors the opportunity to get their hands dirty by helping us create porcelain flowers for honorees in our community studio. Weekly creative workshops were led in partnership with local businesses, nonprofits, and artists. We prioritized inclusive accessibility by offering participation in all activities, workshops and events free of charge.
OUTCOMES FROM MAKE SOMEONE’S DAY:
✿ 2260+ Guests came through our doors to find out what-on-earth we were up to!
✿ 110 individuals from 59 local neighborhoods were nominated for our special honor.
✿ 225+ people, from over 79 communities got their hands dirty with us to create and glaze over 1020 porcelain flowers!!
✿ 110 arrangements were created to honor: friends, neighbors, mentors, business partners, parents, colleagues, extended family, role models, employees, community members and chosen family members, among others.
This project was powered by a Globe Grant from People’s Liberty.
Untitled (The Good Feelings) is a site specific installation of nearly 1,500 slip-cast porcelain flowers installed over a wide green lawn.
This work was inspired by daydreams of possible futures and large fields of wildflowers visited by the artist in Villa de Leyva, Colombia and Vila do Bispo, Portugal. The operating title, The Good Feelings, references The Good Feelings Hostel, an adjacent property to the Portuguese field of flowers.
As a temporary installation, Untitled (The Good Feelings) captures the ephemeral beauty of flowers in bloom and the ability of flowers to enhance wellbeing.
Custom designed, small batch decorative and art tiles compliment individual tastes and the historic character of any space. Projects include: trivets, wall tiles, and tiles for mantels, kitchens and bathrooms.
All projects are custom designed, hand-made, and glazed to order.
My process combines contemporary fabrication techniques with historic ceramic processes, enabling me to balance precision in design with the beautiful subtleties of hand-made ceramics. Designs are digitally rendered to ensure detail and precision. Models and extruder dies are then resin-printed or laser cut. Art tiles and decorative inset tiles are then pressed by hand in molds cast from these models. Border tiles are extruded by hand through laser-cut dies, then cut to length. Tiles are carefully monitored as they dry. Adjustments made to reduce clay's tendency to warp. They're evaluated individually for quality and consistency at least three times––before their first firing, then again during the glazing process, and for a third time after the glaze firing. Subtle variations in glaze are a desired result of glazing tiles by hand. These subtleties enhance the depth and character of each project.
Potager & Pottery emphasizes the health & wellbeing benefits of creative engagement through gardening, art, and design.
This inter-generational collaborative project between Julie, Ron, and Bethany Pelle incorporates organic growing and pest management, space and water conservation through the use of raised beds, companion planting, pollinator attraction, composting, and thoughtful irrigation. Food for the body and spirit are enriched through our creative reuse of materials, food preservation, cut flowers, and pottery.
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This work is a return to Pelle's creative roots in functional ceramics and reflects her ongoing interest in the visionary social idealism of the Arts and Crafts movement. Making functional pottery affords Pelle the satisfaction of un-alienated labor in addition to a rewards of tangible functionality.
In the fall of 2014, eight courses were offered by the St. Claire as part of the Home School seminar. The Home School seminar re-imagined higher art education and reclaimed it for fun; for home; for everyone. For this semester artists and educators hosted different courses in their homes throughout Philadelphia.
This Must Be the Place was edited by Bethany Pelle and produced in conjunction with the Home School seminar. This issue explores the home as a place of internal, external, social and pathological dimensions, and features contributions from Micki Davis, Oksana Todorova, Andrew Anderson, Kevin VanZanten, Lauren Wells, and Pat McCarthy.
MFA Thesis Exhibition, 2012
Tyler School of Art, Temple University
Bethany Pelle's MFA thesis work investigates connections between material culture, intimate relationships, and larger social realities of structural inequity. She incorporates everyday materials into minimalist sculpture, videos, installations, and ceramics. By using an economy of materials in each piece––a few key elements for viewers to connect to and pull together––Pelle is able to engage nuances of human experience and desire. To a sensitive audience, the work is suggestively narrative and allegorical.
Because language structures the very possibilities of what can be thought, the cultural significance of what is nameable carries incredible importance for individuals and communities. The title of Pelle’s MFA Thesis exhibition, Give the Cat a Name, addresses the process of naming as an investigation into representation. In relation to the title of the exhibition, the sculpture, Minou–the named cat–enforces this command to name and this call to political representation. An assemblage of materials resembling a cat pelt, enclosed in a clear plastic bag–Minou makes questions of containment, concealment, and violence visible. In doing so, Pelle's hope is that these questions–questions that constitute the foundations of both feminist liberation and the struggle against neoliberalism–trouble an attentive audience.
Minou is part of a larger domestic tableau. The sculptures Buy Some Furniture and Untitled (Pit) utilize everyday domestic objects. These sculptures reference the home setting as a site of materialized identity construction, social negotiation, and consumption. Buy Some Furniture features one-hundred-twenty square feet of beige carpeting, an ashtray and a small handful of bobby-pins scattered next to unupholstered sofa cushions. The scene arouses melancholy, suggests a sense of longing. The title Buy Some Furniture, evokes a cultural imperative of consumption and the struggles of either rising to––or resisting–– this command. Across the gallery, (Pit) consists of a thin, steel frame supporting an elevated section of hardwood flooring. A densely-knotted, Turkish carpet, illuminated by a floor lamp, sinks through a hole in the floor. The ill-concealed hole, revealed by the contorted carpet, evokes the trap of structural inequality. Placing these objects in relation to one another sets the stage for considering subjective and collective desires.
Give the Cat a Name serves as a starting point to Pelle's long-term artistic objectives: to engage sensible and intellectual ways of knowing, to promote the formation of collective and counter social imaginaries, and to mobilize the potential of desire to improve our futures.
As an analytic deconstruction of the sites and production of desire, Give the Cat a Name engages a different way of desiring––one liberated from the ideological constraints of production and consumption.
Pelle's sculptural work sets the stage for considering subjective and collective desires. Suggestively narrative and phenomenological works use materials and language to investigate how we configure relationships—between one another, things, and ourselves. Mobilizing multiple cultural memories and references, her work is grounded in the home as a primary site of belonging, materialized identity construction, and social negotiation. Her work materializes a sense of longing, while disclosing the processes of construction—shifting the work between palpable desire and a denaturalized assembly of materials. The effect encourages self-reflection while implicating oneself in the problematic of desire and desiring.
Digital Centerfold, St. Claire, Issue IX
Back in 2012, Bethany Pelle compiled The Game as an interactive, digital centerfold for the The St. Claire, Issue IX. The 64 cards in this readymade deck were sourced from an incomplete edition of the board game Artist: The Game, 1982 by John and Diane Gingold, The yellow deck highlights events in the daily lives of commercial artists in the contemporary art system.
In the Yixing ceramic tradition, scholars use tea to stimulate their work and intellectual discourse among their cohort. Yixing teapot designs are filled with symbolic content which express aesthetic attitudes and intellectual interests. Before a gathering, a host will carefully select a teapot for its particular symbolism in order to influence a stimulating dialogue.
As an undergraduate at the University of Miami, I spent a few hours each afternoon alongside Bonnie Seeman as she worked in her studio. We drank oolong poured from small Yixing teapots. Shelves lining her studio were densely packed with her collection of Yixing pots and mugs by contemporary potters. While sipping tea, we discussed art, craft, politics, and our personal narratives. Through Bonnie’s mentorship and in this environment––rich with contemporary and traditional ceramics––I developed my love for ceramics and decided to become an artist. Tea became an essential stimulus to my working process, and later Bonnie’s Yixing teapots became a source of inspiration.
I created the following series of sculptural teapots in an Yixing-inspired style in recognition of the central role tea, Yixing ceramics, and Bonnie's mentorship played in my artistic development.
Each tea ware was hand-built to one-eighth scale of its original and to varying degrees of functional practicality. The specific tools and appliances in the series were chosen as subjects because they were items I personally wanted to own for my studio and my home.
This series marks a period when material culture, desire, labor and consumption were central themes to my work and topics I hoped might be discussed by end users over many small cups of tea.