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2007"在東方”中美藝術家聯展
暨北京學宜座畫廊落戶大山子藝術區一週年展
開幕時間： 2007年7月21日，星期六下午2：30PM-6：30PM
展覽時間： 2007年7月21日-8月17日
地點： XYZ 畫廊，798大山子藝術區D06-6 ( 010 8459 9299)
發起人：許以祺 策展人： 范學宜 成國琴
參展藝術家：黑特裏（美國陶藝藝術家）、米雷恩（美國陶藝藝術家）黨中國（當代水墨藝術家）、馮鐘雲（當代水墨藝術家）、石建國（當代水墨藝術家）
美國陶藝藝術家簡介— 黑特裏
1999 美國俄亥俄州的保齡綠洲大學獲得藝術系學士學位
2002 美國加州聖何塞大學獲得藝術碩士學位，專攻陶藝
2004 在美國加州蒙特裏半島學院教授高級燒陶媒介
2005 繼續教學並在美國多家大學陶藝工作室工作
2006 在美國多家大學陶藝工作室工作
2007 在美國新墨西哥大學工作室工作
2008 應邀在中國富平陶藝博物館美國館進行陶藝創作
自2001年來在美國多家陶藝和雕塑雜誌發表過文章
參加在美國和南韓的陶藝展近二十多次
大學期間多次獲得獎學金，美國多項藝術獎獲得者
“漁網、長襪、 羊角和摩托車氣罐是作品中一系列的符號，這些符號是吸引觀者對形式和表面的異域混合的注意力。將手臂、腿和其他人物元素作為建築框架來創作外形結構更大 的作品，如魚骨、心臟以及其他抽象形狀。將想像力融入作品使我能夠將更多較小的元素建構成有規模、單一的形式。 這種建築性的作品似乎是從技術上對陶藝工作室環境的一種挑戰，同時也滿足了我對形式的好奇感。通過這些作品，我意在吸引觀者的感官，進而挖掘對吸引力的無限遐想。” ——黑特裏
美國陶藝藝術家簡介—米雷恩
1998- 2001 美國蒙大拿州立大學藝術系碩士學位
2002- 2005 美國蒙大拿大學藝術系碩士學位.
2005 蒙大拿大學陶藝專業任助理教授
2005-2007 蒙大拿大學柴燒陶項目組訪問學者及藝術家
2007 中國富平陶藝博物館美國館受邀駐場藝術家
曾參加全美各種陶藝展覽十余次
獎勵：蒙大拿藝術委員會頒發的職業發展獎
收藏：蒙大拿藝術與文化博物館
“我們生存的世界充滿著既有混亂、殘忍與敵意，也有美好與關懷的良好榜樣。我們盡力去保護我們所珍視的，常常我們的努力卻偏離了我們的初衷。正因此，作為一名藝術家，我願意去選擇為我們創造和給與的這個世界奉獻。
泥土無論是在陶藝製作的過程還是形成的最終作品，它為我們提供去發掘彼此的關聯的機會。任何時候泥土都能將人類的動機和自然的發生同步進行，這種材料能讓我們了解人類歷史的全貌：起源、創世紀、毀滅與最終消亡。它支撐著我們，同時也記錄著我們生存的每一個痕跡。” ——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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