Lauren Gallaspy

Lauren Gallaspy received her BFA in ceramics at the University of Georgia in 2005 and her MFA from the New York State College of Ceramics at Alfred University in 2007. From 2009 to 2012, Gallaspy served as co-director and owner of Trace Gallery in Athens, Georgia alongside artist, educator, and collector Andy Nasisse. In 2013, she was recognized by the National Council on Education for the Ceramic Arts as an Emerging Artist in the field. Additionally, she was one of 25 artists awarded the prestigious Joan Mitchell Painters & Sculptors Grant for 2012. Her work has been featured in Ceramics:Art & Perception, Ceramics Monthly, Ceramics Now, Clay Times, Lark Book’s The Best of 500 Ceramics and 500 Cups, Rocky Mountain Artists, and the recently published Glaze: The Ultimate Ceramic Artist’s Guide to Glaze and Color.  Gallaspy has exhibited nationally and internationally in over 60 group and solo exhibitions since 2007, including in the highly publicized “State of the Art: Discovering American Art Now” at Crystal Bridges Museum in Arkansas.  Lauren was an Assistant Professor of Fine Arts from 2012 to 2015 at the University of Utah in Salt Lake City. She just completed a long term residency at the Archie Bray Foundation in Helena, Montana and currently resides in Los Angeles where she is a studio artist.

The fundamental contradictions of the ceramic vessel and the human body are the same: they are objects of both strength and fragility, though, in the end, the ceramic object will always outlive us. This urgent attempt at immortality remains an essential appeal of ceramics to me. Why do I make what I make? I wish to tell stories that might outlive me.

The stories I tell center around the vulnerability of living things and the almost always complex consequences that occur when bodies and objects come into contact with one another. I use imagery of the grotesque and the mundane to depict the pains, pleasures, and longings of being human and, in particular, being female. I want to make objects that demonstrate skill as a kind of devotional act, resulting in pieces that are delicately crafted yet still reflect processes of transformation, chaos, discovery and decay. I see my work as a contemporary evolution of objects within the long history of narrative painting on ceramic forms. Like much of the historical ceramic objects before me, my work is born out of a central conceit of the human body as a living vessel.