OUTSIDER FAIR 2026 BOOTH 24 D
Wesley Anderegg
Wesley the world world, combining Wesley’s exhibition in countless Books’ highly Ceramics”.
“A Potters appeared His work is Archie Bray the Columbus awards at various other He has also University
Wesley Anderegg approaches his work from the perspective of the primitive sculpture artists, fashioning objects about he knows and how he sees it. As an avid people watcher, Wesley has created a full and complex ceramic figurative combining dark humor and light spirits.
exhibition history is impressive by almost any standard. He has had over 22 solo exhibitions, and participated countless group exhibitions and art fairs all across the United States. In addition, his work has been featured in Lark highly successful catalogue series three times – “500 Ceramic Sculptures”, “500 Clay Figures” and “ The Best of 500 Ceramics”. His work has also been featured in “Confrontational Ceramics: The Artist as Social Critic” by Judith Schwartz, Potters Handbook” by Glenn Nelson and Richard Burkett, and “Hand built Ceramics” from Lark Books. His work has also in “Ceramics Monthly” and “American Craft.”
is held in numerous public collections including the Renwick Gallery at the Smithsonian American Art Museum, the Bray Foundation, the Mint Museum of Craft and Design, the Fredrick R. Weisman Museum in Minneapolis, Minnesota, Columbus Museum in Columbus, Georgia, the Crocker Art Museum in Sacramento, California, and many others. He’s won the Centennial Celebration at the University of Kansas and the San Angelo Ceramic National in Texas, in addition to other accolades in institutions across the country.
also curated exhibitions of ceramics and has lectured at UCLA, the Anderson Ranch Arts Center, Columbus State and the California Conference for the Advancement for the Ceramic Arts.
The attractions of ceramics lie partly in its contradictions. It is both difficult and easy, with an element beyond our control. It is both extremely fragile and durable. Like ‘Sumi’ ink painting, it does not lend itself to erasures and indecision.
Gunslinger II
16” x 8” x 8” handbuilt ceramic wood base
Diego and Frida
18” x 14” x 8”
Guns (front view)
hand built ceramic and steel base
Guns (front view)
34” x 8” x 10”
hand built ceramic and steel base
Gun Slinger
Politically Correct 14” x 14” x 8” hand built ceramic wood base
Houses
7.5”
Big Mouth
23” x 18” x 3” hand built ceramic
Family front
Family back
37” x 24” x 18” hand built ceramic metal base
Clay can be dirt in the wrong hands, but clay can be art in the right hands.
Andrea Gutierrez
Andrea to investigate
2020 Isolation/Workers
This body of single dwellings cultural norms
Individuals transformation affected everyone’s
2023 to Present
This body about the how being women’s, 2025 to Present
This body those who
Andrea has been working with needle, thread, and beads for over two decades embracing a long tradition of hand work investigate both contemporary and historical cultural patterns.
Isolation/Workers
of work is a series of small pieces that depicted the isolation experienced during the pandemic. She used imagery dwellings and familiar objects to illustrate this solitude. Through this exploration, Andrea addressed the evolving norms and shifts brought about by the pandemic, including the changing perception of the “essential” worker. Individuals who were previously overlooked became recognized for their crucial role in keeping society functioning. This transformation from invisible to essential worker was just one of many societal changes prompted by the pandemic, which everyone’s lives.
Present - Silence Beyond Human Endeavor of work consists of works portraying women alone, depicted as faceless figures. This series invites a conversation illusions perpetuated by social media and the cultural insistence of a constant evaluation of one’s worth. It explores being observed and being part of an “another” can define an individual’s existence from birth to death and in many lives cause the obliteration of their being.
Present - Hands of work consists of hands portraying a physical act and giving dignity to the labor, skill and demanding efforts of continue to remain ignored and invisible in our culture.
There is no insurmountable solitude.
Pablo Neruda
Stephanie Wilde
Over four the imperiled transfigure logic. Her approach while relying gesso and Wilde received her work on in 2017, and Award for received three National Endowment Her work is Library of Jersey, Harold Victoria and Art, Beijing, Lake City, International, Woodbridge,
decades, Stephanie Wilde has created works of art that tell stories of our shared humanity, individual dignity, and imperiled environment. In creating series on such themes, Wilde is a seeker of rarefied moments in which the visual arts transfigure facts, figures, and political rhetoric, making of them universal statements that appeal to the senses, emotion, and approach to each project is methodical, starting with research supported by scientific, historical and literary sources, relying on symbolism and historical context to inform a complex narrative. Wilde’s technique, incorporates ink, acrylic, gold leaf in a combination of both painting and drawing.
received an Artist in Residency Fellowship at Monte Azul Center for the Arts, Costa Rica in 2022 and 2025, to continue on the project (Treachery of the Common) 2022 -Present. A Djerassi Resident Artist program, Woodside, California and a Joan Mitchell Foundation Grant, New York for painting in 2015. In 2002 she was awarded the Governor’s Artistic Excellence in the Arts and in 1999 a Mayor’s Award for Artistic Excellence from the State of Idaho. She has three Regional Fellowships from the National Endowment of the Arts. Wilde received a Work Site grant from the Endowment for the Art for travel to Scotland in 1994.
is numerous public and private collections. Congress, Washington, D.C., New York Public Library, New York, New York , Newark Public Library, Newark, New Harold B. Lee Library, Brigham Young University, Utah, Marriott Library, University of Utah, Salt Lake City, Utah. and Albert Museum, London, England, Metropolitan Museum of Art, New York, New York, Museum of Contemporary Beijing, China, Fresno Art Museum, Fresno, California ,Boise Art Museum, Boise, Idaho, Utah Museum of Fine Art, Salt Utah, Long Beach Museum of Art, Long Beach, California, Crocker Art Museum, Sacramento, California,Wonderful International, Los Angeles, California, William Louis-Dreyfus Family Foundation, New York, New York, Allan Katz Americana, Woodbridge, Connecticut
2020 Vision / Blind Leading the Blind
Moving the Colony 12” x 12” Ink, acrylic and gold leaf
“Dignity does not consist in possessing honours, but in deserving them”.
Aristotle
See No Evil
Speak No Evil
Hear No Evil
4” x 54”
Ink, acrylic and gold leaf
