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Flamingo Clay Studio Hosts Special Fiber And Sculpture Workshop With International Artists, “Meski” Assegued, Elias Sime And Bruce Brown

Flamingo Clay Studio and Clay Glass Metal Stone Gallery in Lake Worth will host international artists, Meskerem “Meski” Assegued, Elias Sime and Bruce Brown on Tuesday, April 18th.  There will be a special Workshop for Fiber Artists and Sculptors. “Meski” is an amazing artist and world famous art curator. The Rickie Report shares the details and urges fiber artists, sculptors and artists interested in learning new techniques to register. The Flamingo Clay Studio is a non-profit artist cooperative operating the popular Clay Glass Metal Stone Gallery in downtown Lake Worth.

 

 

FLAMINGO  CLAY  STUDIO

&

CLAY  GLASS METAL  STONE  GALLERY

 

PRESENT:

Elias  Sime

TUESDAY, APRIL 18th

 

WORKSHOP  FOR  FIBER & SCULPTURE  ARTISTS

 

10 AM – 3 PM      

 $35.   For Workshop

 

To Register:  CGMSGallery@FlamingoClayStudio.org

OR

Call  215.205.9441

See Bruce Brown‘s Kinetic Sculptures

at

CLAY  GLASS  METAL  STONE  GALLERY

15 South J Street   Lake Worth, FL

MEET INTERNATIONAL ARTIST AND CURATOR:

Meskerem “Meski” Assegued

 

 

 

 

 

 

Elias Sime (b.1968 Addis Ababa, Ethiopia) is a multi-disciplinary artist working primarily in relief sculpture and architecture. For more than twenty-five years, he has made collage and sculptural assemblage from found objects such as thread, buttons, plastic, animal skins, horn, fabric and bottle tops, alongside organic building materials and binding agents such as mud and straw. Many of the objects come from Mercato, the Addis Ababa open-air market, said to be the largest in Africa, and in particular the market’s Menalesh Tera section—literally “what do you have?”—where trash is repurposed in resourceful ways and its new potential is shared among the community.

 

Sime has a masterful handling of material, with fluency and pure formal instincts a hallmark of his practice. In the past decade he has sought to better understand the cultural and historic underpinnings of those instincts, traveling with the anthropologist Meskerem Assegued through rural villages in Ethiopia to research ancient rituals still in practice. Sime collects histories and vernacular techniques as much as objects.

 

Mixed Media by Elias Sime (Photo Courtesy of Lula Lake Worth Art)

 

One of the most prominent names in the East African art scene, Sime founded, designed and constructed the Zoma Contemporary Art Center in Addis Ababa, an international art center described by the New York Times as “a voluptuous dream, a swirl of ancient technique and ecstatic imagination.” His work has been shown internationally at the Dak’Art Biennale in Dakar, Senegal; the New Crowned Hope Festival in Vienna, Austria; and in the US at the Metropolitan Museum of Art, New York; the Studio Museum in Harlem; and a survey exhibition that traveled from the Santa Monica Museum of Art, CA, to the North Dakota Museum of Art. Sime designed props and artwork for Peter Sellars’ production of Igor Stravinsky’s opera Oedipus Rex, which has been performed at the Los Angeles Philharmonic and Sydney Opera House.  Elias’ work is included in the permanent collection of the Metropolitan Museum of Art, New York; Israel Museum, Jerusalem; North Carolina Museum of Art, Raleigh; Perez Museum of Art, Miami; North Dakota Museum of Art; Harn Museum of Art, University of Florida, Gainesville; Hood Museum of Art, Dartmouth College, NH; Ruth and Elmer Wellin Museum of Art, Hamilton College, Clinton, NY; and the Kemper Museum of Contemporary Art, Kansas City, MO.

 

 

Meskerem (“Meski”) Assegued, with her artist/inventor/engineer husband Bruce Brown, are residents of downtown Lake Worth. Bruce lives full time in the city, and Meski divides her time between Lake Worth, Addis Ababa and exhibitions in museums and galleries throughout the world that she is called upon to curate. She is also the founder of  Zoma Contemporary Arts Center (ZCAC)  which is an artist residency located in Addis Ababa and Dire Dawa. Over the last 16 years, Meskerem has curated numerous exhibitions both in Ethiopia and abroad. She was also a member of the selection committee for the 2004 Dak’Art Biennale and the 2007 Venice Biennale African Pavilion.

 

 

 

Bruce Brown is famous for his wonderful kinetic marble machines that were in the window of the gallery for several years.  He shares,” I like to watch things move and I like to make things. I could spend an hour watching pelicans and or a tractor moving earth. I can also spend all day shaping wood or bending wire until it becomes the thing I want. Art was a hobby most of my life. My career took me overseas fo many years. I managed computer systems in developing countries for U.S. Government relief and development efforts. Wherever I was, I enjoyed looking into the workshops and seeing things being made. Craftspeople with limited resources make up for it with perseverance and planning. I saw a plumber in Ethiopia drill a faucet hole in a sink by tapping on it with a screwdriver for an hour or so. With each tap, a tiny flake of porcelain broke loose. It seems tedious, but it probably didn’t take any longer than it would take me to drive to the hardware store and buy a carbide drill bit”.

 

Bruce Brown’s kinetic sculpture, as featured at International Kinetic Symposium 2017

 

 

“It seems like rolling ball sculptures and other kinetic art are always in the background somewhere. I see them in movies and commercials frequently. I’m not sure when I knew I wanted to make them, but I remember two pieces in particular that probably pushed me over the edge. Many years ago, I lived in Yellow Springs, Ohio. there was a jewelry store with an elaborate wire-work clock. It had many gears with human wire figures turning cranks and such. I always enjoyed stopping to look at it through the store window. A few years later I was delayed on a flight out of Sacramento. In the terminal was a big glass box with a rolling ball sculpture. I looked at it for hours; it had a wonderful chain lift and a couple of track switches.  I never throw anything electrical or electronic away. I have to take it apart and salvage things. Motors, wires, springs, screws. I like to make my art with what materials and tools I have on hand when I start. Often it begins with a leftover piece of wood…”

 

 

 

 

For more information about this workshop or exhibits at lay Glass Metal Stone Gallery or classes at Flamingo Clay Gallery:

Please contact Joyce@FlamingoClayStudio.org for full details.

 

 

 

For coverage of your events, to place an advertisement, or speak to Rickie about appearing in The Rickie Report, contact:

Rickie Leiter, Publisher

Rickie@therickiereport.com   561-537-0291

17019 SW Sapri Way   Port St. Lucie, FL 34986

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