Visions In Clay 2024
Kristy Winterbourne
Originally from Illinois, Kristy Winterbourne’s education and professional background is in jewelry and metalwork. She received a BFA in jewelry and metalwork, as well as a minor in art history - any time not spent in her own metals studio was in the ceramics department. After working as a professional jeweler for several years in Chicagoland, she relocated to Arizona to work for a custom jewelry designer and artist. During this time, Kristy’s love for working in clay never subsided, taking sporadic throwing classes at the local clay collective scratched a persistent itch. After pausing her career as a goldsmith and stonesetter to start a family, she decided to enroll in a figurative sculpture class. Kristy soon realized that the desire to sculpt, which had been put aside up until this point, was an achievable reality. Through a combination of refined training and attention to detail, along with the malleable aspect of clay, she is able to capture minute detail and expression throughout her work.
As an emerging artist in the figurative sculpture world, Kristy has found joy, satisfaction, and challenging rewards in her developing skills and craft. Her current subject matter has direct influences from ancient art history, folklore, mythology of past and present civilizations, as well as current social norms. Art has had direct influence in creating narratives to express order, govern civilizations, control the masses, define mores, mark historical moments, and subdue discourse. Perhaps the examples that were made had more than surface value, perhaps the subject’s hidden workings have their own story to tell, not what was told about them. Kristy seeks to inspire broader thought while bringing to the surface a view of the undisclosed sense of self. Through gestures and expressions, as well as imagery from the natural world, she explores how narratives are portrayed. It is up to the viewer to come to their own illuminations, to move beyond misconceptions of identity, beliefs, internal dialogues and all of the resulting impacts. It is the artist’s goal to convey a different and deeper interpretation of what is unseen and that which we hold to be truths.
One of the earliest archetypes of the Divine Feminine is the Mesopotamian goddess Ereshkigal. She was a symbol of transformation, the cyclical forces of life and death, a benevolent guide to the deceased and their existence in the underworld. She was the
answer to the mysteries which lie beyond the veiled sphere of the human psyche. Along with her strength, depth, and compassion, she was burdened with the misunderstanding and misinterpretation of those unable to see the deeper meaning of all that she offered and tended.
She holds the Rod and Ring of divinity and power, while an observant gaze is cast from her otherworldly realm. The mantle she wears is a Memento Mori, each bone individually made and linked together by hand (kind of like us). Her decoration and presence is inspired by Queen Puabi and the Royal Cemetery at Ur.
Perhaps the mystery of death is something that most can never bear to shoulder - that we all go to the same dry and desolate place. We are all equal in this fate. How much of our lives do we spend seeking answers to what lies next? So much time, thought, and energy is spent on what happens after death. My conclusion is that the time is now, the golden light that is sought is what greets us with each dawn and departs with the dusk. The hand that is held is the love and strength which is offered, given, and received. My children’s laughter is the Divine. Live well, live now.
Ereshkigal’s Burden, 2023
Stoneware, stain, underglaze, acrylic, cement, mahogany, brass, metal; cone 5 electric firing
28”h x 12”w x 10.5”d
$3000