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2007"在东方”中美艺术家联展
暨北京学宜座画廊落户大山子艺术区一周年展
开幕时间： 2007年7月21日，星期六下午2：30PM-6：30PM
展览时间： 2007年7月21日-8月17日
地点： XYZ 画廊，798大山子艺术区D06-6 ( 010 8459 9299)
发起人：许以祺 策展人： 范学宜 成国琴
参展艺术家：黑特里（美国陶艺艺术家）、米雷恩（美国陶艺艺术家）党中国（当代水墨艺术家）、冯钟云（当代水墨艺术家）、石建国（当代水墨艺术家）
美国陶艺艺术家简介— 黑特里
1999 美国俄亥俄州的保龄绿洲大学获得艺术系学士学位
2002 美国加州圣何塞大学获得艺术硕士学位，专攻陶艺
2004 在美国加州蒙特里半岛学院教授高级烧陶媒介
2005 继续教学并在美国多家大学陶艺工作室工作
2006 在美国多家大学陶艺工作室工作
2007 在美国新墨西哥大学工作室工作
2008 应邀在中国富平陶艺博物馆美国馆进行陶艺创作
自2001年来在美国多家陶艺和雕塑杂志发表过文章
参加在美国和韩国的陶艺展近二十多次
大学期间多次获得奖学金，美国多项艺术奖获得者
“渔网、长袜、 羊角和摩托车气罐是作品中一系列的符号，这些符号是吸引观者对形式和表面的异域混合的注意力。将手臂、腿和其他人物元素作为建筑框架来创作外形结构更大 的作品，如鱼骨、心脏以及其他抽象形状。将想象力融入作品使我能够将更多较小的元素建构成有规模、单一的形式。 这种建筑性的作品似乎是从技术上对陶艺工作室环境的一种挑战，同时也满足了我对形式的好奇感。通过这些作品，我意在吸引观者的感官，进而挖掘对吸引力的无限遐想。” ——黑特里
美国陶艺艺术家简介—米雷恩
1998- 2001 美国蒙大拿州立大学艺术系硕士学位
2002- 2005 美国蒙大拿大学艺术系硕士学位.
2005 蒙大拿大学陶艺专业任助理教授
2005-2007 蒙大拿大学柴烧陶项目组访问学者及艺术家
2007 中国富平陶艺博物馆美国馆受邀驻场艺术家
曾参加全美各种陶艺展览十余次
奖励：蒙大拿艺术委员会颁发的职业发展奖
收藏：蒙大拿艺术与文化博物馆
“我们生存的世界充满着既有混乱、残忍与敌意，也有美好与关怀的良好榜样。我们尽力去保护我们所珍视的，常常我们的努力却偏离了我们的初衷。正因此，作为一名艺术家，我愿意去选择为我们创造和给与的这个世界奉献。
泥土无论是在陶艺制作的过程还是形成的最终作品，它为我们提供去发掘彼此的关联的机会。任何时候泥土都能将人类的动机和自然的发生同步进行，这种材料能让我们了解人类历史的全貌：起源、创世纪、毁灭与最终消亡。它支撑着我们，同时也记录着我们生存的每一个痕迹。” ——米雷恩
2007"IN THE EAST” SINO AMERICAN ARTISTS JOINT EXHIBITION
& XYZ Gallery Moved to 798 Dashanzi One-year Anniversary
Opening Reception: July 21, 2007, Saturday afternoon 2:30PM-6:30PM
Exhibition Time: July 21 to August 17, 2007
Venue: XYZ Gallery, D06-6-1 of 798 Dashanzi Art Center of Beijing, China (Phone: 010 8459 9299)
Initiator: Dr. Ichi Hsu, Organizer: Fan Xueyi, Catherine Cheng
Participating Artists: Trey Hill (U.S), Ryan Mitchell (U.S), Dang Zhongguo, Feng Zhongyun, Shi Jianguo
Brief Introduction of American Ceramic Artist: Trey Hill
1999 BFA Bowling Green State University, Ohio
2002 MFA Concentrating Ceramics in San Jose State University, CA
2004 Teaching Advanced & Intermediate Ceramics, Monterey Peninsula College, Monterey CA
2005 Continue teaching while participated several workshops in colleges of US
2006 Workshop at Fort Lewis College, Durango, CO, San Juan College, Farmington, NM, etc.
2007 Workshop at University of New Mexico, Gallup, NM
Invited artist in residence for American Museum of International Fuping Ceramics Museum, China
Published articles in Ceramics and Sculpture magazines in the State
Participated 20 more exhibitions throughout U.S, as well as Korea
Obtained scholarship in universities and several art awards recipient in America
“Fishnet stockings, ram horns, and motorcycle tanks are just a few of the symbols used to lure the viewer into this exotic blend of form and surface. Arms, legs, and other figurative elements are often used as building blocks to create larger forms such as wish bones, hearts, and other abstract shapes. Combining imagery in this way enables me to build large singular forms out of many smaller ones. This building approach lends itself to a technically challenging studio environment and also satisfies many of my formal curiosities. Through this work, I’m aiming to seduce the viewer’s senses, while exploring the boundaries of attraction.” --by Trey Hill
Brief Introduction of American Ceramic Artist: Ryan Mitchell
1998- 2001 B.F.A. Montana State University, Bozeman.
2002- 2005 M.F.A. University of Montana, Missoula.
2005 Adjunct Professor: Ceramics II, Anagama. University of Montana
2005-2007 Visiting Lecturer/ Artist. Wood-fire program University of Montana.
2007 Invited Resident Artist: FuLe International Ceramic Art Museums, Fuping, Shanxi of China
More than 10 various exhibitions participated throughout United States
Grants and Awards： Montana Arts Council Professional Development Grant
Collections：Montana Museum of Art and Culture.
“The world we inhabit fluctuates between moments of chaos, brute hostility, and profound examples of care and beauty. Our efforts center on the preservation and protection of what we cherish and value. The implications of our efforts often escape our grasp and intentions, it is for this reason, that as an artist I am interested in how we choose to handle and engage the world we create and are given.
Clay provides an opportunity to explore these relationships, both in the creative process and in terms of the final product. In any given event, clay can simultaneously be about both human intention and natural occurrence. It is a material through which we can understand the full spectrum of human history: birth, creation, destruction and eventual decay. Metaphorically or literally, it serves to ground us, as well as record nearly every aspect of our existence.” --by Ryan Mitchell
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