Behavioral Patterns

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.