Grand Voyage : The Art of Piero Fenci

Museum of Biblical Art 7500 Park Lane Dallas, TX 75225

Catalog Design by Peter Andrew Photographers: Aldo Ornelas and Erik Ordaz

Front Cover: “Safe Harbor” Photo Credit: Eric Ordaz

Grand Voyage small works

Piero Fenci March 2023

GRAND VOYAGES: The Art of Piero Fenci

By Art Historian and Curator Dr. Scott Peck The exhibition Grand Voyage, featuring the artwork of Piero Fenci, is a thoughtful and reflective ceramic installation based upon the artist’s life. Autobiographical in nature his ceramic pieces reveal insights into his very own existence. Fenci uses his hands with intense mindful gestures to create each work of artistic expression, showing who he really is. The physical merits of the ceramics catalogue the artist’s past, in order to share and commune with the viewer. Reinterpreting and reinventing his history, the artist considers his own connections to other ceramic traditions, relating them to various chapters of his lifespan.

For example, Fenci’s lineage is connected to ancient Italy and Etruscan culture. He utilizes his own ancestry by taking Etruscan forms and reinterpreting them as new formations. Created between the 7th and 5th centuries B.C.E., Etruscan pottery commonly had very shiny dark surfaces that appeared to be metallic. The Pillow, the Basket, and the Urn series all display Etruscan influences in their blue, brown and blue metal-like exteriors. In each of these ceramics, the artist proudly declares his physical and spiritual connections to the Etruscans. Fenci documents his own Etruscan ancestry and DNA through the way he boldly expresses himself on the surfaces of these powerful ceramic creations.

Japanese culture and tradition offer other interesting autobiographical aspects to these new

artistic creations featured in the exhibition. Fenci’s wife is of Japanese heritage. Her influences can be seen. Origami, the Japanese art of paper folding, are repurposed and formed into ceramic expressions by Fenci in his Japanese Handbag series. Each work alludes to artistic paper folding in his design approach. Another Japanese influence in the exhibition is the armor from the Muromachi period. Fenci’s Helmet and Shield series imitates and repurposes the protective gear and armaments of the Japanese warriors in this time period.

Water and sailing the seas has been another life theme that Fenci has incorporated into this new body of work. The artist spent years as a competitive sailor. The intense blue, yellow, brown and green glazes of his ceramic creations reflect the surfaces of the various bodies of water that a sailor would encounter. A series called Barges are ceramic sea-like vessel representations. These vessels are a play on the double meaning of the English word vessel as a container and as a vessel as a way to travel on water.

Fenci takes the viewer on a magnificent voyage throughout his inconceivable life filled with adventures. The ceramic work in this physical and spiritual journey include influences from Pre-Columbian architecture, American Shaker design styles, Etruscan pottery, and the Japanese Edo period. Fenci brings each person with him on his splendid tour to experience these diverse places of tradition that made him who he is today. The Grand Voyage ceramic exhibition divulges and discloses the essence of the artist Piero Fenci, allowing the viewer to see into his very heart and soul.

Basket, 20 x 19 x 14 Courtesy of Ritsuko Akamatsu

GRAND VOYAGES: The Art of Piero Fenci

By Dr. David A. Lewis, Stephen F. Austin State University Professor of Art History Grand Voyages is an exhibition of Piero Fenci’s smaller works. In reviewing Piero Fenci’s work more than a decade ago, it soon became evident that the artist expressed himself in life-affirming terms, a concern which he called the “anti-entropic imperative.” This imperative was the driving force behind his vision, and that body of work fully reveals the artist in prime form. Precise craftsmanship, highly original glazing techniques, and exquisitely balanced structural forms, characterize the series of Torre (Towers), Armadura (Armor), Sanctuario (Sancturies), Casco y Escudo (Helmet and Shield), and Muralla (Ramparts) that formed his La Cerce (The Fence) exhibition in 2010. Variously inspired by ancient Etruscan ceramics, Pre-Columbian kivas, Muramachi armor, Shaker hatboxes and tinware, and the Modernist ceramics of Picasso and Noguchi, these remarkable mid-career works embrace and celebrate widely diverse cultural traditions, and yet avoid cliché and appear unanticipatedly fresh and new. Moreover, in their seemingly impossible tectonics—a mélange of intersecting planes and globular forms—they not infrequently constitute small miracles of ceramic engineering: as daring in their way as the architecture of Frank Gehry. The wide compass of his vision and the underlying principle that guided it then remain fundamentally unchanged to the present. Yet the way Fenci expresses his vision most assuredly has changed, and in ways fully commensurate with the life-altering events that he has encountered (and anyone might anticipate) with increasing maturity.

Piero Fenci now enters a new phase. His new style embraces a smaller scale. His recent work is more playful in comparison with the architectonics of his previous work. Incrementally, he has come to emphasize the incidental and accidental aspects of clay in his art, relishing above all, the inherent beauty of the naturally flowing and puddling processes of glazed surfaces as they occur in a kiln firing. That new emphasis on “letting go” of control notwithstanding, Fenci’s work remains (as much as ever) both autobiographical and historical. Regarding his current practice, the artist writes: “my approach to making art is to take past and present archetypes that … draw me like a magnet, filter them through my psyche, and intuitively connect them. My work constitutes loosely rendered reinventions of my past; they are my attempt to build a family tree of spiritual ancestors, a heritage of my own passions.” [1] This “heritage of… passions,” this idea of connecting with the past and re-inventing it in the present, finds expression in Fenci’s current work, which he likens to Umberto Eco’s concept of semantic universals, engaging human awareness of bodily relationships in space and time in such familiar terms as “Up, down, left, right, the power of touch,”[2] and more complex corporeal sensibilities as: above, below, in front of, behind, beside. These sensorial perceptions of presence, of course, shape the way people see and respond to nature, as well as to art, from shifting vantage points in time and space. They also apply to our experience in dreams and night-

Turbine, 24 x 16 x 15

mares—although sometimes in ways that defy the laws of the physical universe. Exploring such elemental human experiences and consciousness is as compelling to the artist as giving creative form to raw clay and fired glaze.

Piero Fenci’s current work departs from the precise calculation and refinement of his previous practice, but the iconography remains familiar, if now more witty than elegant, more charming than refined, more toy-like than architectural in scale. For example, works from the Barges series clearly reference boat forms: rafts, hulls, portholes and hatches, masts, and sails, but always fragmented and abstracted to such a degree that, while they might be rocked back and forth, they couldn’t possibly float. They function as souvenirs or artifacts, surely inspired by Fenci’s many years of competitive sailing. Some acknowledge this nostalgic role by their placement upon raised platforms. Their toy-like scale recalls certain grave goods found in Ancient Egyptian tombs. Often employing strategies of cubist distortion and surreal displacement of imagery, like too highly positioned portholes, Fenci’s boat-like vessels defy expectation and, as such, encourage alternative ways of viewing them. Rather than suggesting the anticipated views of sea or dockside, the curiously displaced and too large portholes reveal the reality of the actual space around the physical objects they puncture—not a view of some imagined ocean or the derricks of a port, but the table and chair across the room, or of another visitor moving about the gallery.

Some of the imagery seems vestigial: two bars across the top of a barge form might suggest seating or cargo secured to the bow or stern of the suggested vessel; but at this toy-like scale, they may be mistaken as handles for lifting the object from its base. Portholes may be placed too low or too high to function on an actual boat, but such absurdity engages the viewer with a sense of childlike wonder. Similarly, the “cookie-like” sail forms, trimmed from thick clay slabs, seem wholly unsuited for catching a breeze; ridiculous, raft-like half-boats are doomed to sink. While a toddler might dump juice out of a “sippy cup” so it will float in the bath, the toy boat forms presented here can only be destined for a place in Davy Jones’s Locker. The absurdity becomes complete, Piero Fenci wouldn’t have it any other way. In many of these works, a playful interplay of solids and voids leads the viewer’s eye to surprising reversals of perspective and expectation. It’s good to see through the unadulterated eyes of the child and renew one’s sense of wonderment.

David A. Lewis Valentines Day, 2023 Piero Fenci is professor of art/ceramics at Stephen F. Austin State University [1]

, [2], Piero Fenci to David Lewis, personal email, January 22, 2023

Teapots, front to back 11 x 9 x 3, Courtesy of Catherine Oliver 12 x 10 x 5, Courtesy of Ritsuko Akamatsu 15 x 13 x 6, Courtesy of Catherine Oliver

Barge 12 x 12 x 6

Urn, 16 x 14 x 10

Turbine, 24 x 14 x 14

Barge, 12 x 18 x 12

Pillow, 7 x 14 x 13, Courtesy of Linda Mock and Patrick Dolan

Barge, 11 x 20 x 6

Shaker Hatbox, 4 x 16 x 16, Courtesy of Catherine Oliver

Pillow, 6 x 15 x 12, Courtesy of Catherine Oliver

Leaf, 10 x 18 x 10, Courtesy of Cathrine Oliver

Barge, 10 x 16 x 6

Sakai, 10 x 15 x 15, Courtesy of Linda Mock and Patrick Dolan

Barge, 12 x 12 x 6

Teapot, 13 x 12 x 6, Courtesy of Ritsuko Akamatsu

Barge, 6 x 20 x 7

Torso, 8 x 15 x 11

Barge, 9 x 16 14

Figure Eight, 7 x 46 x 6

Leaf, 10 x 18 x 10

Origami Handbag, 18 x 48 x 15, Courtesy of Linda Mock and Patrick Dolan

Leaf, 10 x 18 x 13

Double Walled Oval, 7 x 15 x 8

Barge, 7 x 21 x 6

Urn, 16 x 14 x 10, Courtesy of Ritsuko Akamatsu

Teapot, 15 x 13 x 6. Courtesy of Catherine Oliver

Origami Handbag, 17 x 14 x 9, Courtesy of Karon Gillespie and Michael Mollot

Basket, 16 x 15 x 12, Courtesy of Ritsuko Akamatsu

Barge, 7 x 15 x 12

Piero Fenci Artist Statement Intimate scale, the history of use, the tactile qualities of touching and lifting, and, above all, the interaction of surface and form are central concerns in my work. I have developed a deep attachment to many types of functional objects. They include Etruscan pottery, pre-Columbian architecture, Japanese armor of the Muromachi period, Shaker hatboxes and tinware, and origami. Lately my work has focused on my history as a competitive sailor, playing around with the double entendre of making “vessels” that refer to vessels. I take these archetypes, filter them through my psyche, and intuitively connect them. My work, therefore, constitutes loosely rendered reinventions of the past; they are my attempt to build a family tree of spiritual ancestors, a heritage of my own passions.

There are times when I like to describe myself as a dinosaur. I work with my hands and I search for truth and beauty. This form of ceramic art is not the current trend. Today artificial intelligence reaches all areas, including art. Just for fun, I asked “ChatGPT” the following question: Please interpret the style of Piero Fenci’s ceramic art.

tion of organic and geometric shapes, bold colors, and a focus on texture and surface decoration.

Fenci's work often features irregularly shaped vessels with asymmetrical openings and dynamic curves. He also incorporates elements of geometry into his designs, such as using triangular or rectangular shapes as decorative motifs. Fenci's use of bright, bold colors such as reds, blues, and greens adds to the playful and lively feel of his work.

Another distinctive feature of Fenci's ceramics is his use of texture and surface decoration. He often incorporates rough textures or raised patterns into the surface of his vessels, which creates a tactile and visually interesting experience for the viewer.

Fenci also experiments with glaze effects, such as crackling or pooling, which further enhances the textural quality of his work.

Overall, Piero Fenci's ceramics are characterized by their unique combination of organic and geometric shapes, bold colors, and a focus on texture and surface decoration. His work is playful and dynamic, and his innovative approach to ceramics has made him a highly regarded artist in the field.”

Here is AI’s interpretation“Piero Fenci was an Italian ceramic artist who is known for his unique and innovative approach to ceramics. His style is characterized by a combina-

Welcome to the new world of AI! One thing, I didn’t quite understand “the Piero Fenci WAS the Italian…”

Piero Fenci Born Santa Barbara, CA, 1944 Education 1973 – 1975 1970 - 1972 1962 - 1966

MFA, The New York State College of Ceramics at Alfred University, Alfred, NY Post Graduate Studies in Studio Art, Tulane University, New Orleans, LA BA in Latin-American Studies, Yale University, New Haven, CT

Professional Experience 1975 - Present Professor of Art, Stephen F. Austin State University, Nacogdoches, TX 2004 - 2017 Visiting Professor, Escuela de Bellas Artes, Universidad Autonoma de Chihuahua, Chihuahua, Mexico, nine appointments 1994 - 2003 Visiting Professor, Nantucket Island School of Design and the Arts, Nantucket, MA, four summers Solo Exhibitions (from 2010) 2020 “All Fired Up,” Page Bond Gallery, and the National Council on Education for the Ceramic Arts Conference, Richmond, VA 2019 “Still Cookin’ With Gas: Drawings and Ceramics,” Baugh Center for the Visual Arts Gallery, University of Mary Hardin Baylor, Belton, TX 2017 “Respite,” McMurry University Gallery, McMurry University, Abilene, TX 2013 “Battlement,” Galveston Arts Center, Galveston, TX 2012 “Texas Master Series: Piero Fenci - Battlement,” Houston Center for Contemporary Craft, Houston, TX 2010 “La Cerca/The Fence,” Museo Casa Chihuahua Centro del Patrimonio Cultural, Chihuahua City, Chihuahua, Mexico 1975 - 2005 Twenty-five solo exhibitions Group Exhibitions (from 2010) 2023 Museum of Biblical Art, Dallas, TX 2022 Torre del Roca Gallery, Rocca di Umbertide Centro per L’arte Contemporanea, Umbria, Italy 2022 Shaw Center for the Arts, LSU Museum of Art, Baton Rouge, LA 2021 Museum of Biblical Art, Dallas, TX 2021 College of the Mainland Gallery, Texas City, TX 2019 Hooks Epstein Gallery, Houston, TX 2019 Centro de Desarrollo Cultural, Chihuahua City, Chihuahua, Mexico 2018 Cole Art Center at The Old Opera House, Nacogdoches, TX 2018 The Museum of Fine Arts, Houston, TX 2018 University of Houston Gallery, Clear Lake, TX, curated by Jeff Bowen and Karen Fiscus 2017 Page Bond Gallery, Richmond, VA 2017 San Jacinto College/Central Campus Gallery, Houston, TX, curated by Michelle Matthews and Jeff Forster 2017 Beatrice M. Haggerty Gallery, University of Dallas at Irving, TX, curated by Virginia Marsh 2017 Wichita Falls Museum of Art at Midwestern State University, curated by Virginia Marsh 2015 Galveston Arts Center, Galveston, TX, curated by Clint Willour 2015 Ro2 Art, Dallas, TX 2025 Beatrice M. Haggerty Gallery, University of Dallas at Irving, TX, curated by Eva Kwong 2014 Ro2 Art, Dallas, TX 2014 Dishman Art Museum, Lamar University, Beaumont, TX 2014 Susan Lister Locke Gallery, Nantucket, MA 2013 Pollock Gallery, Southern Methodist University, and the National Council on Education for the Ceramic Arts 2013 Conference, Houston, TX Fort Worth Community Arts Center, Fort Worth, TX, curated by Susan Roth Romans

2013 Ro2 Art, Dallas, TX 2012 Graficas Gallery, Nantucket, MA 2012 Page Bond Gallery, Richmond, VA 2012 Watershed International Center for the Ceramic Arts, Wiscasset, ME 2012 Castello Normanno Svevo, Sannicandro de Bari, Italy 2012 Ro2 Art Uptown, Dallas, TX 2011 Museum of Contemporary Native Art, Santa Fe, NM 2010 Houston Center for Contemporary Craft, Houston, TX, curated by Gail M. Brown 2010 Cole Art Center, Nacogdoches, TX, 2010 North Texas State University Gallery, Denton, TX 2010 Tyler Museum of Art, Tyler, TX 2010 Texas Tech Ceramics Symposium, Lubbock, TX 2010 Ro2 Art, Dallas, TX 2010 M. T. Burton Gallery, Surf City, NJ 1975 - 2009 Seventy-six group exhibitions Collections Louisiana State University Museum of Art Museum of Fine Arts, Houston, TX Museum of Contemporary Native Art, Santa Fe, NM Schein-Joseph International Museum of Ceramic Art, Alfred, NY Tyler Museum of Art, Tyler, TX Martin Museum of Art, Baylor University, Waco, TX Rosenfield Collection, Dallas, TX John Hechinger, Washington, DC Robert Pfannebecker, Lancaster, PA Donald Sultan, New York, NY Dorothy Weiss, San Francisco, CA Carol Straus, Houston, TX City of Houston Portable Works Collection/Houston Airport System Frost Bank, San Antonio, TX Star of the Republic Museum, Washington, TX Artist Residencies 2008 Watershed International Center for the Ceramic Arts, Wiscasset, ME, invited by Virginia Scotchie Awards 2019 Dean’s Circle Endowed Professorship Award, College of Fine Arts, SFASU, Nacogdoches, TX 2012 Texas Master Award, Houston Center for Contemporary Craft 2010 Nominated for Regents Professor, SFASU, Nacogdoches, TX 2003 Liz Schaeffler Sculpure Award, Artists Association of Nantucket, Nantucket, MA 1998 SFASU Foundation Faculty Achievement Award for Innovation and Excellence in Teaching, Research and Service 1998 Teaching Excellence Award, College of Fine Arts, SFASU, Nacogdoches, TX

Grand Voyage Voyage:

The Art of Piero Fenci

Opens March 15, 2023 Museum Hours: 11 am - 5 pm Wednesday - Saturday 1 - 5 pm Sunday Closed Monday & Tuesday

Museum of Biblical Art 7500 Park Lane Dallas, TX 75225