The installation of Adam Silverman’s current exhibition at Cherry and Martin is immediately striking. A circle cut through the gallery’s dividing wall, à la Gordon Matta-Clark, becomes a proscenium through which a promenade is constructed. This elevated pathway consists of darkly stained railroad ties supported by concrete-block posts upon which the ceramic cast of the artist’s current exhibition, Ghosts, resides. For those familiar with previous installations of the Los Angeles-based potter’s work, the architectural staging may not surprise (a reflection of his architecture background), but the evolution of his sculptural forms just might. The potter’s approach to throwing pottery might be considered rather traditional, and Silverman readily acknowledges that he purposely operates at the intersection of craft, fine art and design. Less traditional are the complex surfaces of his vessels, which he achieves through layered manipulations of glaze and ash in multiple kiln firings. The result is a spectacular array of finishes, ranging from thickly mottled cherry-blossom pinks to silky radiant cobalt blues to the roughly stained earth tones which dominate the current exhibition.
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