About the Artist
Eileen Braun was born in Boston Massachusetts, with much of her adult life spent in the mid west and east coast. She received her B.A. degree in Sculpture and Art Education at Indiana University and in the years following worked as a Public School Educator, Manager-Buyer for a Chicago Museum gift shop, and as Executive Director of a suburban NY Art Center and Gallery.
Since relocating to GA 8 years ago, studio ceramics has become the focus of her attention. In the form of non-functional teapots, vessels or her Specimen Series creations, clay comes to life. Her work in teapots has been included in numerous National Teapot Invitational’s, the 500 Teapots II Lark publication- August 2013, as well as several acquisitions to the Sonny Kamm Teapot Collection. In Atlanta her work is currently part of E-merge: Contemporary Atlanta Artists, a curated exhibition of emerging artists at the Hartsfield-Jackson Airport, Terminal T.
My ceramic teapots and vessels are comprised of wheel thrown then altered components which often take on a playful animated biomorphic personality. Many have developed a haughty attitude.
This body of work is greatly influenced by my fascination with subtle movement. My many studio windows open to an active lakeside landscape-one of the many rewards of living in Atlanta. Daily I view vegetation reaching upwards, the heads of flowers turning slowly to follow the sun’s path. Numerous bird feeders outside my studio windows are the meeting place for a variety of aviary visitors. It is here I observe their heads cocked, listening for warnings, greetings and mating calls. This observed behavior has resulted in a humanization to the long necks of my vessels, as well as the spouts and handles of my teapots.
My home studio is the perfect incubator to create these biomorphic vessels. Here a traditionally wheel thrown porcelain silhouette might be grafted with a bulbous appendage inspired by land-water-air iconology. What you observe as my trademark surface embellishment – stippling, slip trailing, and sgraffitto I interpret as the vessels epidermis. The skins not only encase and protect, but lure the viewer to their tactile surface. My early exploration into such techniques as previously described was piqued by my fascination with Hob Nail Milk glass and, oddly enough, peanut shells.