Untitled
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Clifton Pearson
American, born 1948
From the series, Celebrated Figures
Born in Birmingham, Alabama, Clifton Pearson now lives near Huntsville. With a Ph.D. in studio ceramics, glass, metalwork, and art education, Pearson thinks of himself as primarily, as "a vessel maker, in that I work to contain space." His vessels take the form of stylized, figurative sculptures that are a combination of his imagination and reality. This Chieftain leader from the "Celebrated Figures" series exemplifies Pearson's approach of creating majestic figures from slabs of clay that embody dignity while reflecting various cultures including African and Native American. Pearson hand-works each piece, highlighting the rich textures and ornate headdresses, letting the personality and humanity of each figure evolve through the process. This particular work is the first time Pearson added visible hands, adding a sense of quiet grace and wisdom to the figure.
American, born 1948
Untitled
1999From the series, Celebrated Figures
Object Type:
Sculpture
Creation Place:
North America, American, Alabama
Dimensions:
37 3/4 in. x 14 1/2 in. x 10 in. (95.89 cm x 36.83 cm x 25.4 cm)
Medium and Support:
Glazed stoneware
Accession Number:
2000.0015 a-c
Credit Line:
Montgomery Museum of Fine Arts Association Purchase
Born in Birmingham, Alabama, Clifton Pearson now lives near Huntsville. With a Ph.D. in studio ceramics, glass, metalwork, and art education, Pearson thinks of himself as primarily, as "a vessel maker, in that I work to contain space." His vessels take the form of stylized, figurative sculptures that are a combination of his imagination and reality. This Chieftain leader from the "Celebrated Figures" series exemplifies Pearson's approach of creating majestic figures from slabs of clay that embody dignity while reflecting various cultures including African and Native American. Pearson hand-works each piece, highlighting the rich textures and ornate headdresses, letting the personality and humanity of each figure evolve through the process. This particular work is the first time Pearson added visible hands, adding a sense of quiet grace and wisdom to the figure.
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