Opening reception: October 10, 5-7 PM
Alexander Pope | Volumes and Vortices: Organic Improvisations | Clifford B. West Gallery
Exhibition Statement | There are similarities in the structure and patterns of growth and decay between all organic and inorganic things. We can confirm these connections using microscopes, telescopes, or even the naked eye. This collection of ceramic sculptures by Alexander Pope serves as a tribute to the forms and forces found in the natural world. Although inspired by natural phenomena, these pieces do not represent specific objects or events. Instead, they reflect the effects that universal forces have on our experiences. These sculptures are fabrications; they are fictitious and abstract, yet they respect the governing laws of physics and nature. Spirals are a particular favorite of the artist, as they provide views of both interior and exterior space, effectively resolving themselves and finding their center. Pope begins the creation of each piece with only a general idea of how the final sculpture will look. For instance, a piece may start with the concept of a form that grows upward from the ground in a tight curl, initially small in circumference, then expanding into a fuller volume before tapering off at the top. The journey toward this resolution is only partially pre-planned; improvisation plays a significant role in completing the sculpture. Just as an improvising musician operates within the principles of harmony and discord, Pope improvises based on a perception of natural law. When making decisions about form, he poses questions such as: “How would nature solve this problem? How should a form transition from thick to thin, or from interior space to exterior surface? How does an inflated volume open to reveal its interior?” Nature holds the answers. These answers can be found in shells, rocks, bones, unfurling leaves, curling waves, twirling tornadoes, and shooting stars.
In addition to the three-dimensional presence of Pope’s work, one can observe the patterns, textures, and colors that adorn the surfaces of the sculptures. Lines and patches resemble feathers, scales, lichen, or even bubbles, crystals, and clouds. Once again, Pope improvises, this time using glaze pencil, underglaze, and slip, all within a self-imposed rule of nature that creates a distinct visual language. This approach adds interest to the form and fulfills the artist’s need to draw and paint. Finally, each piece is given a title based on the feelings it evokes or the things it resembles, though they are not strictly defined by these names. The sculptures’ ambiguity—where they can seem to represent multiple things at once—is intentional. This serves as a hopeful reminder of the interconnectedness of all things.
Biography | Alexander Pope attended Skidmore College in the late 1980s and majored in Studio Art. He spent a year at the University of the Arts in Philadelphia completing a ceramic residency in 1991. In 2000, Alexander completed a Master of Arts in Teaching and has been employed as an art teacher ever since. Alexander has been a member of Monadnock Art: Friends of The Dublin Art Colony since 2007. He participates annually in their Open Studio tour. Recently, he has begun to show his work around New England in various juried shows. He was the recipient of the First Place prize at Art League of Rhode Island’s juried show, Sculpture Now: Art to the Third Dimension, in 2024, and won Honorable Mention in the sculpture category at the Variations Show at Marblehead Arts Association in 2025. Alexander Pope is currently living and working in rural New Hampshire.
Artist Statement | Alexander Pope draws inspiration for his sculptural forms directly from objects he observes in nature. He is interested in how things grow, transform, die, and decompose. He pays close attention to the construction of forms in the natural world and observes transitions such as moving from inside to outside space, from flat surfaces to curves, and from large volumes to small details. As a result, the pieces he creates are often inspired by specific natural objects, yet they rarely serve as explicit representations of those objects. While the initial form and decisions about texture and structure may be inspired by nature, the piece evolves through improvisation. In his studio, Pope hand-builds his sculptures using techniques such as pinching and coiling, often working on several pieces simultaneously and experimenting with variations on the same idea. This approach creates a visual language that relates to the original object but gradually transforms into something new. Additionally, his surface treatments reference the natural world and extend from the scribble drawings and paintings he creates in his sketchbook.
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