The pieces in the Scholar's Toys Series section are influenced by concepts surrounding Chinese Scholar Rocks. Scholar Rock is the most common English name given to the small, individual stones that have been appreciated by educated and artistic Chinese at least since the Song dynasty (960-1270). Their smaller size enabled the Chinese literati to carry them indoors where they could be admired and meditated over in their sparse studios. These rocks are generally viewed as small landscapes which embody utopian ideals.
There is a definite landscape quality to this work, upon which have been placed a diverse range of ceramic forms. These are as far reaching as children’s toys to tools, architectural elements to geology, exalted objects to everyday mundane items. Wood-firing is a primary aesthetic concern in this work, but I also employ mixed ceramic media by adding low- fire, high- fire, salt-fired, luster glazed and other ceramic elements. This is done to provide visual and content-related contrasts as needed.
Keith Ekstam- Different Journeys-Scholar's Toys Series. Photo by Sam Lines
Keith Ekstam- Tenuous Existence-Scholar Toys Series- mixed ceramic media, 16 in. h x12in. w x 28in. d
Keith Ekstam- Metaphysical Construct- Scholar's Toys Series.Photo by Sam Lines
Keith Ekstam- Memory Trace- Scholar's Toys Series.Photo by Sam Lines
Keith Ekstam- Artifacts- Scholar's Toys Series. Photo by Sam Lines
Keith Ekstam- Rules of Travel- Scholar's Toys Series.Photo by Sam Lines
Keith Ekstam- Safe Haven- Scholar's Toys Series.Photo by Sam Lines
Keith Ekstam-Chance Encounter- Scholar Toys Series- mixed ceramic media- 11in. h x10in. w x27in. d
Keith Ekstam- Manifest Destiny- Scholar Toys Series. Mixed ceramic media. 15 in. H x 28 in. W x 10 in. D
Keith Ekstam- Balancing Act- Scholar's Toys Series, mixed ceramic media
I continued to make landscape related work throughout the early to late 2000's. This work was fired in various ways including wood, salt, low fire, lustre, pit and garbage firings, as needed. Additional materials were used as well, such as paint and stains, with found objects used as well.
Wood-fired and Low-fired ceramic/ assembled. Collection of Guldagergaard International Ceramic Research Center.
Wood-fired and low-fired ceramic/ assembled. This piece was inspired by three different trips through Taroko Gorge National Park in Taiwan, an astounding series of winding canyons filled with white marble in the island's central mountains.
Wood-fired ceramic/ assembled. Constructed during an artist symposium at Carlow University in Pittsburgh, PA in 2009. Fired in the Laurelville, PA, wood kiln.
Wood- fired and lustre glazed ceramic/ assembled.
Wood- fired and salt- fired ceramic/ assembled.
Salt- fired and wood- fired ceramic/ assembled.
Wood -fired and lustre glazed ceramic/ assembled
Wood-fired, salt-fired and lustre glazed ceramic/ assembled. Collection of Del Mar College, Corpus Christi, Texas.
I have been exhibiting my artwork on a regular basis for more than 30 years. I have included images from recent larger shows where I had numerous pieces on display. These are usually solo or group exhibitions. I have also been a visiting artist at more than 50 art- related schools, institutions and organizations. I have included images from some of my experiences during these art adventures.
Keith and Professor Chang, Ching-Yuan, admiring large buckets of epoxy at Tainan National University of the Arts, Taiwan. This photo was taken during Keith's sabbatical leave at TNNUA in 2012.
Keith posing with sculpture by Ai Wei-Wei, at exhibition in Taipei.
My son, Leland Ekstam (on left) and former Mo State clay student Craig Hartenberger, stand in front of the Sanshia Temple in Sanchia, Taiwan, near Taipei. Always so many things to see and do during international travel opportunities.
I exhibited more than twenty pieces in this solo show which was the culmination of a three-month long sabbatical leave in 2011-12.
From the "Trace Elements" exhibition. During artist residencies, I tend to allow myself to be influenced by things I am seeing or experiencing in my new locale. The Guantien district in southern Taiwan is home to the water caltrop or chestnut, (ling-jiao in Mandarin). It has become an image for me that makes reference to that specific place.
From "Trace Elements" exhibition. A nod to the enormous variety of fruits and vegetables found in Taiwan. At a well known local "smoothie" bar in the town of Liou-ja, I saw enormously fat carrots; this was the inspiration for this particular piece. It is in the collection of Dr. Fang, Po-Ching and Wang, Shin-yu.
"Trace Elements" alternate view. The 2 forms on the far left make up one piece titled "Two Birds, One Stone". It is in the collection of Taiwanese artist Hsu, Yung-Hsu.
A large group exhibition including artists Priscilla Mouritzen, Nina Hole, Rick Hirsch, Ken Baskin, Scott Meyer, Jeff Johnston and myself. The show was on display from Nov. 2016- March 2017.
My sculpture "Safe Haven" is in the foreground. From left to right are works from Scott Meyer, Ken Baskin and Jeff Johnston.
My piece titled "Rules of Travel" on display next to didactic posters explaining the wood-firing process.
My wall-piece "Landscape with Frog and Red Tornado" is displayed between pieces by Scott Meyer (left) and Ken Baskin.
My piece "Different Journeys" is displayed by the far wall. It is framed in this view by work from Priscilla Mouritzen (left, in vitrine) and Jeff Johnston.
Wood-fired forms by Priscilla Mouritzen.
Left to right, work by Rick Hirsch, Jeff Johnston, Scott Meyer, and Rick Hirsch.
Wood- fired wall-piece by Nina Hole. We were so honored that Nina picked her specific pieces out for this exhibition shortly before her death.
In 2012 I was part of a group of ceramic artists who were invited to participate in a symposium at the HDK Design School at the University of Goteborg, Sweden. Artists from Sweden, Japan, Denmark, Taiwan, Norway, United States, and Spain took part in the three- week long event, which involved firing several wood kilns at the Naas Castle complex north of Goteborg. It culminated in a panel discussion and group exhibition at the Rohska Design Museum in Goteborg.
In this photo, I am firing the anagama kiln at Naas with Takeshi Yasuda and Jose- Antonio Sarmiento.
Symposium co- coordinator Eva Zethraeus and Ching-Yuan Chang enjoying a Swedish Fika, the country's official coffee break and business meeting time. Eva and Zach Tate worked incredibly hard to ensure all the participants had a fine time in Sweden!
Nina Hole and Dick Lehman, two Grand Masters of ceramics, admiring work that came out of the anagama firing. It was such a great joy to work alongside these two fine artists (and people!). I will always cherish this time together.
Zach Tate, symposium co-cordinator, and Craig Hartenberger, in Goteborg. These two former MO State clay students have gone on since this 2012 photo to do many great things in the clay world.
Zach Tate, co-coordinator of the symposium, working one of several wood kilns fired at Naas castle kiln complex.
From May 22 to July 19,2018, I was an invited artist at the Dunhuang Creative Center at Lanzhou City University, Gansu Province, China.
The above image is of the great temple at Crescent Oasis outside of Dunhuang City, western Gansu Province.
Lanzhou City and the Yellow River (Huang He) from White Pagoda Mountain.
Plying the busy streets of Lanzhou.
Two colleagues from the residency. On the left is Keaton Wynn, Creative Director of the Dunhuang Creative Center and Professor Art at Georgia Southwestern State University. On the right is Patsy Cox, Professor of Art at Cal State University- Northridge. We are investigating small shops at a temple complex in Lanzhou City.
A sculpture that references a variety of objects I became familiar with one my journey there including Chinese Yo-yos, stupas, bao-zi, and tomb guardian pots.
One of my sculptures from our group exhibition Post Painted Pottery Culture at Lanzhou City University. This piece references the goat skins rafts that have been used on the Yellow River for centuries.
A sculpture that references similar objects from the previous stacked piece.
Working in the studio alongside fellow visiting artist Priscilla Mouritzen.
Although I am not well-versed in the many nuances of tea culture, as a ceramic artist I have been continuously drawn to making and using tea bowls. Tea bowls are rich in history throughout many cultures, and I always enjoy creating my version of this pottery form.
Wood-fired ceramic. Collection of .Professor Chang, Ching- yuan, Taiwan. This small piece was made during my 2012 artist residency at Tainan National University of the Arts in Taiwan. It was shown in my "Trace Elements" solo exhibition at TNNUA.
Wood-fried and low-fired ceramic/ assembled. This piece was made during my 2012 artist residency at Tainan National University of the Arts in Taiwan. It was shown in my "Trace Elements" solo exhibition at TNNUA.
Wood- fired and low- fired ceramic/ assembled. Collection of Dr. Fang, Po-Ching and Wang, Shin-Yu, Taiwan. This piece was made during my 2012 artist residency at Tainan National University of the Arts in Taiwan. It was shown in my "Trace Elements" solo exhibition at TNNUA.
Wood- fired ceramic/ assembled
Wood fired stoneware and porcelain/ assembled. This piece was made and fired during my 2014 artist residence at Guldagergaard International Ceramic Research Center in Denmark. It was fired in their train kiln with a good deal of reduction cooling at the end of the firing. The title comes from my many walks on paths around Noret Sund, a large "lake" that is connected to the sea through the fjord that flows through Skælskør town.
Wood- fired and low- fired ceramic/ assembled. Collection Guldagergaard International Ceramic Research Center. This piece was made and fired during my 2014 artist residence at Guldagergaard. It was fired in their train kiln with a good deal of reduction cooling at the end of the firing.
Wood-fired, salt-fired ceramic and high- fired porcelain/ assembled. From an on-going series of landscape driven work.
Wood-fired, low-fired,high-fired ceramic, paint/ assembled.From an on-going series of landscape driven work.
Wood-fired and low- fired ceramic, high- fired porcelain, Chinese and Taiwanese money/ assembled. From an on- going series of landscape driven work.
Wood- fired and PVD coated ceramic. From an on-going series of landscape driven work.
Wood- fired and salt-fired ceramic/ assembled. Collection of the Great China Ceramic Museum, Jingdezhen China.
Wood -fired ceramic/ assembled.
These forms stem from my occasional interest in combining wheel- thrown and hand- built elements. The pieces reference utilitarian cups and other vessels imbued with geologic, fossil- like and other visual elements.
Wheel- thrown and hand-built, then wood-fired with shino glaze.
Wheel- thrown and hand- built, wood- fired with shino glaze.
Wheel- thrown and hand- built, wood- fired with shino glaze
Wheel- thrown and hand- built, wood- fired with shino glaze
Wheel- thrown and hand- built, wood- fired with shino glaze
Wheel- thrown and hand- built, wood- fired with shino glaze
Wheel- thrown and hand- built, wood- fired with shino glaze
Wheel- thrown and hand- built, low- fired with stains and glaze.
Wheel- thrown and hand- built, low- fired with stains and glaze.
Wheel- thrown and hand- built, low- fired with stains and glaze.
Wheel- thrown and hand- built, low- fired with stains and glaze.
Wheel- thrown and hand- built, low- fired with stains and glaze.
Wheel- thrown and hand- built, low- fired with stains and glaze.
