Tyvek, 2018. Porcelain, oxides, wood, concrete. 14" x 11" x 9."
SARA ALLEN PRIGODICH (@s_prig) makes "physical representations of our psychological incongruities," utilizing material as emotional metaphor. In recent sculptures, the domestic interior meets the structural bones of a building in works where porcelain mimics folded fabric held up by plywood scaffolding or trapped in blocks of concrete. Sara earned her BFA from the University of Hartford and her MFA from the University of Massachusetts Dartmouth. Her work was most recently included in group shows at Edward J. & Helen Jane Morrison Gallery at University of Minnesota Morris (2020), CADE Gallery at Anne Arundel Community College in Arnold, MD (2019), Automat Collective (2019) and Spillway Collective (2019) (both Philadelphia). In 2021, she will a solo show at Five Points Gallery (Torrington CT) and two-persons shows at Harford Community College (Hartford, MD) and Millersville University (Millersville, PA). Her work is included in the permanent collections at University of Massachusetts Dartmouth and University of Hartford. Sara lives and works in Annapolis, MD.
OtherPeoplesPixels: Porcelain seems to be your ceramic of choice. What is it about this material that makes it a staple in your studio?
Sara Allen Prigodich: I use porcelain clay because of its smooth surface texture, strength when fired, and its malleability when constructing. My favorite stage within my process is the initial clay manipulation. I enjoy pushing the limits of the soft, thin, delicate porcelain slabs to see how far they can go in regard to stretching, inflating, pulling or slumping.
I want my works to be honest. I embrace all the histories my forms—cracks, tears and holes—take as they are made; these elements that would have once been a sure sign of failure in my process have now come to emphasize the exposed state of the sculpture. It is my intention that my sculptures embody the moments of truth and honesty between people and spaces, without edits and corrections.
The white color of porcelain is also comparable to a blank canvas; allowing me to apply whatever oxide or glaze color I’d like to the surface. Even the most subtle colors on my work are often the result of building multiple layers of sprayed materials, and at times multiple firings as well.
Fold, 2015. Porcelain, glaze, wooden structure. Each shelf unit 13" x 48."
OPP: Most of your sculptures include porcelain masquerading as folded fabric. Tell us about your use of this repeated visual motif.
SAP: It has been said that clay is the ultimate imposter, a material that lends itself to any surface, texture or volume, but at the end of the firing, it still becomes hard as stone. Like many ceramists, I find myself depending upon the structural integrity of ceramic, yet also fighting its dense, rock-hard finish. The clear intention and economy of touch is an important part of my handbuilding process. I attempt to conceal the hardness of the material by maintaining a visual softness.
The softness of the forms closely resembles the body, its domestic environment and thus the human condition. The connection to domestic objects such as fabric and clothing relates the work to home, shelter, and structure. The purpose of using a dense, hardening material rather than fabric lies in its permanence. Ceramic both archives a moment of touch and records deterioration as a symbolic form of loss and change. It has the capability to freeze a moment in time, to hold a gesture and to preserve it.
The flesh-like surface on a folded and draped form creates a strange and somewhat uncomfortable perspective on the human condition. I see these “skins” as husks or vacated selves. While the deflated quality of the forms appears to be a domestic material of sorts, it also has an emptiness that places it in the past. This emptiness reinforces the documentation of the event or action that has taken place and underscores the ambiguity of what remains left behind.
Gravity, 2020. Porcelain, oxides, concrete, steel. 13" x 9" x 9."
OPP: In your newest work, there are a lot of material references to construction: insulation foam, concrete and drywall, for example. Is this choice driven more by concept or by material?
SAP: Each material I use serves as a different vocabulary within a visual language, taking each material’s inherent associations into consideration. For example, the stability and strength of concrete versus the fragility and weakness of splintered plywood. To see a fragment of rafters, or the layers within a wall removed from a domestic space, allows us to fill in the rest of the visual image and to recreate our own memory within. I use variations of these non-ceramic materials and found objects as a means to strengthen the presence of form as well as the presence of absence.
Logically Speaking (Front View), 2017. Porcelain, Wood. 16" x 8" x 10.5."
OPP: What role do the ceramic parts play?
SAP: I see the ceramic portions of my sculptures as referent to domestic objects that relate back to the body, while the exterior armatures that surround the ceramic serve as imagined structures or emotional props. A thematic reoccurrence within my work is the abstracted ideas surrounding domestic spaces, or the perceptions of house versus home. The concept of shelter is a global experience that can allow access to the work for all. By creating fragments of domestically referenced spaces, one can project their own past experiences or memories onto the object and complete the space.
Blocks, 2017. Watercolor and Ink. 14" x 20"
OPP: How do the drawings relate to the sculptures?
SAP: Drawing and sketching have always been integral parts of my practice. Almost all of my sculptures start with a sketch or two, but I also make small drawings independently from my three-dimensional work. The imagery and subject matter between them is often similar, but with enough subtle differences to allow for a progression of ideas—almost a conversation—between the two- and three- dimensional pieces.
I’ve always felt that my drawings allow me to defy gravity and entertain impossibilities in construction that I wouldn’t be able to physically build in my sculptures. Sometimes a drawing may morph into an idea for a sculpture, but often they are more freeing and not tied to the physics of reality.
Prop, 2017. Porcelain with oxides, poplar wood. 9.5" x 9" x 5.5."
OPP: How has your practice been impacted by Covid-19?
SAP: Conceptually, my work has always carried themes of depicting a “presence of absence” and with Covid-19, I can’t think of a more apropos understanding of our current collective consciousness. As an entire species, we are communally experiencing what it means to be unable to be present with those we love and care about. We may be fortunate enough to have virtual communication, but when the screen turns off that physical absence becomes almost palpable. These thoughts continue to motivate my thinking within my work.
Nest, 2019. Porcelain, oxides, wood, hydrocal, insulation foams. 12" x 8" x 8."
OPP: Any new directions?
SAP: I now have extremely limited access to certain ceramics facilities that I use. While I still work from a home-studio space, I now have more limitations. As an educator, I’m always encouraging my students to push themselves out of their comfort zones within their artwork, so I’ve been looking at these limitations in a positive light; seeing them as new challenges that will present innovative solutions and explorations. Currently I’ve been experimenting with plaster and hyrdocal as alternative media to preserve forms in different compositions. It’s been fun to try different things, and I’m looking forward to seeing where this new direction takes me.