Clayspace has a body of Jim
Bowling's ceramic figures up in their attached space, Gallery 831. Behavioral
Patterns depicts couples and individual figures in different modes and
moments of relating to each other, from initial attraction to consummation.
That isn't really the complete range, as any stage of a relationship can be
purely physical or part of a deeper connection. Bowling captures these
distinctions without being obscene. While there is a phallus for every figure,
it is so commonplace in the show that it cannot be the only focal point. The
emotions are human, not just male.
Bowling clearly enjoys his
materials as well as his subjects. The bending of geometric forms makes them
into figures. The form sets a tone that is further embellished through low fire
glazes and bands of metal that add color and texture. The layers build up to
imply depth of the characters and their experiences. Some parts are worn while
others are polished to a high sheen. All of the forms and finishes give the
feeling of a search for completeness through connection to others, whatever
form that may take.
In Charged the two
figures are so endowed they are literally tripods, but they stare intently
straight into each other's faces. These are beings that have a sexuality but
are too concerned with getting to know each other to allow those feelings to
dominate other emotions, no matter how strong those feelings may later become.
The two figures recognize a fit rather than a clone. Their surfaces are
complementary rather than identical. The colors of the glazes and banding of
the metal luster expand a common theme.
This contrasts with Mutual
Attraction, in which the two figures stare into each other's faces, but the
figures end at the waist and each face sprouts directly from a phallus. The
expressions and dimensions of the figures let us know that although they might
be looking at faces, their thoughts are elsewhere. This different type of
attraction is presented as something that happens, not as a form of judgement.
Other pieces depict couples
unified physically. In Ride a reclining figure extends through a hole in
the center of a standing figure. The point of connection is not anatomically
exact to the act, but their feeling of togetherness is unmistakable. Bowling
does a nice job of setting up the situation and then letting us know what the
focus really is, what details he finds most important.
An Uneasy Alliance
features a reclining nude figure. The pose is reminiscent of the countless
reclining nude females paintings and sculptures, but it is different because it
is a man in this familiar position. The red color of the surface is broken by
several bands of black and gold. One band wraps around the head over where the
mouth would be, as if the mouth has been taped shut. With his silence ensured,
the figure makes his best effort to appear relaxed, but tension remains in his
reclined pose. Bowling leaves the other member of this alliance ambiguous.
After seeing all of the
pieces, I was left with the feeling that connection is something all people
need. Not everyone will connect the same way. Not everyone will be successful,
but it is still universal. Can a nude just be a nude? Can a viewer evaluate the
concept of nude art through the pose and context without focusing solely on the
sexual dimensions? What if there are a lot of nudes and they are mostly of
couples interacting? What if all of the many nudes are male? Should I have said
“penis?” I feel more like I'm talking about art if I say “phallus,” but that
may be a personal problem.
Visit the Clayspace website www.clayspace831.com
for more information on the show or their ceramics classes and www.jimbowling.net
for more information on the artist and photos of his work.
