15″ diameter x 14″ height, porcelain and porcelain wash $4000
Christina Brinkman
Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.
In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.
Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.
After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.
Brinkman writes:
I am a maker
Guided by touch,
engagement with the material.
Nature, memory and organic form
bring direction and orientation
a celebration of process and rythm.
It tries to be sympathetic with the natural world.
It is usually white,
the absence of color
the sum of all colors.
White reflects
simplicity,
purity,
nakedness,
lightness,
death,
calm
or stillness.
the simple pleasure of makiing
it is spare…
Without the distraction of color,
one considers the outline,
the interior and exterior space,
the proportions and relationships of the form.
The shadows and space around
become an integral part of the work,
the light reflecting surfaces and edges,
the energy of what is and isn’t there.
Making is connecting
the telling of slow stories.
I am never certain of its destination
but
it is often within
the boundaries of the vessel form.
Sculpture
tries to sneak in.
(and it wants to take over).