Tiles
Tileista
| Jun. 28, 2011 |
7 Comments
"Ornament is a crime"-Adolph Loos
"Remember that the most beautiful things in the world are the most useless: peacocks and lilies, for instance."-John Ruskin
Bobby Silverman thought he wanted to be a social geographer, the study of spatial patterns, investigating how and why we live and work where we do. On the way to getting his degree, he took a detour to Japan. There he witnessed the daily use of beautiful handcrafted objects, born of traditions that were thousands of years old. He became an apprentice to the master potter Samejima Saturo. What might have felt serendipitous at the time was actually, according to Silverman "preordained." His family had actively collected antiques and decorative objects. The Japanese ritual of utilizing art that was functional felt familiar to Silverman.
Returning to America, Silverman received his Master of Fine Arts from Alfred University and embarked on a career in ceramic exploration that has spanned 30 years. "With an intimate understanding of the medium and its process, I tend to think of solutions that are idiosyncratic to the material." Working out of his Brooklyn studio, Silverman established Alsio Design, named for the components of clay-alumina, silica, and oxygen.
Silverman uses complicated glazing techniques to achieve translucency and emulate gravity. In the Shoji series the diffuse applications of color create a diaphanous lyrical surface. Employing drips, the abstract floral motifs appear to both bloom and wilt, evoking the passage of time. Like the painted Shoji panels Silverman discovered in Japan, the tiles integrate the artistic and functional, a critical component of Silverman's work.
The Versailles Collection melds Silverman's consummate skill by using the technical and aesthetic properties of ceramic. Taking three years to develop, the elegant tile is realized only in metallic glazes, which maximize the reflectivity of the dimensional effervescent bubbles. Light catches each rounded orb, a toast to the 17th century royal chateau where the treaty was signed to protect the provenance of French champagne.
Silverman explains, "The Braille, Morse, Binary, and bar codes all reflect a fascination with the visual representation of information, a manifestation of my interest in geography and art." He creates phenomenological based designs integrating the sense of touch. Braille tiles celebrate poetry and color. A proposal for the MTA subway integrated Morse code translations of the approximate 180 nationalities that live in Queens. The floor tile merged stories of immigrants translated in Braille. Silverman mandated tiles for the vaulted ceiling similar to Spanish architect Rafael Gustavino's patented technique. The purpose of this rich and tactile design was to celebrate the immigrant population that uses the subway daily. Braille and Morse code are two visual interpretations of language added to the multiplicity of native dialects spoken by commuters. Amidst this mecca of culture and narrative, Silverman still seems intent on understanding our connections to place. His ceramic tiles, elevated to artistry, provide the patterns.
"Tileista" is a monthly column that explores the beauty of artisan tile. JoAnn Locktov is the author of two books and numerous articles on contemporary mosaics. Her public relations firm Bella Figura Communications represents creative individuals and businesses in design, architecture, art and travel. Follow her musings on Twitter.
Comments
June 28th, 2011
Another eloquent revelation - actually two: your writing & Silverman's ceramics. Great to see you both here at American Craft. I'm elated by the way his restless mind (and hand) so successfully pursue a diversity of themes without getting jumbled or dilute. I'm not clear if the MTA design has been approved. If not, it certainly should be! - SO apt, especially for its targeted location.
Posted By George Fishman
June 28th, 2011
Wonderful to see Tileista column here at American Craft! I\\\'ve followed JoAnn\\\'s work for years -she has a sensitivity to craftsmanship and technique as well as keen ability to showcase artist-entrepreneurs who elevate the position of contemporary handmade work. I love Silvermans Versailles Black Metallic tile - that is hot!
Posted By Lillian Sizemore
June 28th, 2011
While I appreciate the beauty of a well-crafted ceramic vessel, the medium has never called to me. Perhaps it was my frustration at being unable to throw a centered pot in seventh grade art class. Silverman's work is on an entirely different plane than the ceramic tile we encounter every day. His work makes me want to implore the Public Art Gods: "Please, give this man more giant walls so we can experience his messages on a larger scale!" Thanks for sharing Silverman's amazing work with us, JoAnn.
Posted By Julie Richey
June 28th, 2011
Wow! love the tiles, love the artistry. Thanks for sharing another master at work. Any celebration of champagne is always a good idea!
Posted By deborah osburn
June 29th, 2011
The Tileista\\\'s words are as poetic, lyrical and effervescent as the tiles about which she writes. Reading this article took me to each place, seeing each piece, and seriously wishing I could touch each tile. What a great addition to the American Craft blog. Thank you and Vive le Tileista!
Posted By Debby Fortune
June 29th, 2011
Well done.
Thank you for sharing Silverman's work.
Posted By erica harrold
June 30th, 2011
JoAnn's writing provides a looking glass towards an understanding of the complexity of Silverman's work. Both are beautiful and thoughtful. Thank You!
Posted By Karen Thompson
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