Works & Biography
About Patricia Rieger
Patricia studied literature and writing at Goddard College, Vermont. She received a B.F.A. in 1983 at the New York State College of Ceramics at Alfred University, New York and a Master of Fine Arts at the University of North Carolina at Chapel Hill in 1986. From 1976-1981 Patricia taught art at The Putney School, Vermont and in 1990-91 at the University of North Carolina at Chapel Hill. She has been an artist in residence in the following locations: the Seminario de Estudios Cerámicos de Sargadelos, Spain in 1986; the Cité Internationale des Arts, Paris 1991; The European Ceramic Work Centre in The Netherlands 2002 and Can Serrat, Barcelona, Spain in 2015. From 1991-1999 she lived and worked in ‘s-Hertogenbosch, The Netherlands. Patricia now lives in Chicago and teaches at The School of the Art Institute of Chicago.
Her sculpture and paintings are included in the following publications: 500 Figures in Clay, 2014. The Ceramic Process, A Manual and Source of Inspiration for Ceramic Art and Design, A&C Black. London. “Patricia Rieger” Revista Cerámica International, Madrid, 2007. Contemporary Ceramics: International Perspective by Emanuel Cooper, Thames and Hudson, London 2009. 500 Ceramic Sculptures, Lark Books 2009, US. The Human Form in Clay by Jane Walker. The Crowood Press. 2001 Wiltshire, UK.
She has exhibited her ceramics and paintings at (selection): Rhona Hoffman Gallery, Chicago. The Chicago Cultural Center. Sky Earth Gallery, Macau, China. Madremanya, Girona, Spain. SOFA Chicago, Dubhe Carreño Gallery. The Everson Museum of Art, Syracuse, N Y.
A.I.R. Gallery, New York. National Museum of Woman in the Arts, Washington, DC. Hodges and Taylor Gallery, Charlotte, N C. Martha Schneider Gallery, Chicago. Galeria Sargadelos, Madrid, Santiago, Vigo, Lugo, Spain. Casa das Artes, Vigo. Spain.
In 1987 she was awarded the Southern Arts Federation Visual Arts Fellowship, National Endowment for the Arts.
There is an intentional poetic attitude in my art that allows me to work and to imagine with a sense of purpose. There is an attempt towards precision; meaning is always ambiguous and metaphorical.
Although my work appears to refer to a story, I am not concerned with a linear narrative.
A goal is to explore the self in the noise of the world, the dialogue between the internal dialogue and the public language. I have an interest in creating in my work a sense of place that is of the mind. This is an intense and quiet search for a moment in time to highlight the contradictions between the private and the public world.
The intention in my work is to be clearly and openly poetic. The hope is to render the unintelligible more accessible.
In the work Found. Conversations with a Bird, I have invented a character that represents others. I am well aware that as an artist my search echoes precedents like Velazquez, Juan Munoz and others in literature and the visual arts. I navigate in that complexity.
The Expulsion Series: He & She was inspired by the fresco painting, Expulsion by the 15th century Italian artist Masaccio. I have adopted and transformed these two characters because I feel that they reflect a response to the tragic historical moment in which we are living.
My recent sculpture and paintings continue my on going interest in creating "characters" as outsider with attention to the everyday and the mundane. The illusory, the real, the allegory and the fragmentary cohabit a space/ stage/ setting that is dramatic and quiet.
The palette is muted almost black and white to emphasis the fiction and the timelessness of the scene.
The title, Cold Song, comes from the semi-opera King Arthur by the music composer Henry Purcell.
The Leopard series is a counterpoint to my previous work. In this series an excessive number of human limbs, sometimes erotically displayed give reference to my interest in Tibetan and Indian sculpture. The explosion of gesture and color acts as a balance to my other work, which is often quiet and introspective. The Leopard series represents a more extroverted character, a vehicle to express intense energy and emotion, perhaps a result of the contradictions between the private and the public world.