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                  <text>Small ceramic sculptures of curled, resting figures (some human, some animal, and some pairing the two together). Each piece features smooth, rounded forms and earthly glazes in reddish-brown and muted blue tones. Figures are shown lying on their sides in fetal-like or curled positions.</text>
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              <text>My Dear Jane</text>
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              <text>Bartels, Mallory</text>
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              <text>Stoneware, Gas Kiln, Cone 10 &#13;
Chun Blue, Phil’s White, Shino, Oil Spot &#13;
The idea for My Dear Jane came into being during a deep reflection of self-identity. In recent years, I have used the image of a young girl - my third-grade self, donning tighty-whities and choppy bangs - to personify this exploration. I grew up in a family of anxiety ridden women, where nights of tear stained cheeks and trembling breaths were a familiar companion. I find solace in the way fawns respond to danger: instinctively dropping into a fetal position, vanishing into the embrace of the tall grass. At the ripe age of eight, I yearned to do the same. To disappear into my surroundings as the weight of anxiety swelled in my chest. At times, the world is simply too much for a small creature to bear. The postures of the figures deliberately mirror each other: if this instinctive response offers protection to one, perhaps it can for the other as well. This emotional vulnerability is reflected in the material &#13;
itself. The stoneware demands careful handling and attentive viewing, evoking a sense of fragility. Their muted, pale colors allude to their delicacy and youth, while their intimate scale invites them to nuzzle into the palm of your hand.</text>
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              <text>2025</text>
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