SAC Gallery | Catherine Paleczny - Artist in Residence of S.A.C. Residency Program(5th Cycle)
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Catherine Paleczny – Artist in Residence of S.A.C. Residency Program(5th Cycle)

Catherine Paleczny – Artist in Residence of S.A.C. Residency Program(5th Cycle)



First trained as a sculptor, Catherine Paleczny has worked in a variety of media before embracing ceramics, so it comes as no surprise that she approaches her work from the point of view of a sculptor — with an eye to installation rather than single object-based work. She uses the power of the multiple, its relationship to craft, and mechanical reproduction as a means to confront the discourse of contemporary clay sculpture. She is among a select group of ceramists whose work extends the traditional notions of ceramics into the realm of a multi-media installation, by rejecting conventional vessel and object making in favour of installations.

Catherine Paleczny completed a Master of Fine Arts degree at the University of Calgary, Alberta, and has studied at the University of Michigan and the University of Western Sydney Australia.  Additionally, she also completed her Master of Science in Education degree at Niagara University Niagra Falls New York. She has been a guest artist in residence at the Happy Lucky Site in Japan, the International Ceramic Center in Denmark, the Banff Center in Alberta, the International Ceramic Sculpture Symposium in Boleslawiec, Poland and the Experimental Sculpture Factory in China. She has exhibited in Australia, Europe, Canada, China and in the USA. She has taught Fine Arts at The University of British Columbia, The University of Calgary, Alberta College of Art and Design, Sheridan College, The Toronto Art School and most recently St. John’s Kilmarnock School. Paleczny is currently the lead instructor of IB Visual Arts at SJK teaching grade 7-12. She is also an adjunct professor for the faculty of Education at WLU.

Catherine also has work in the permanent collection at the Grimmerhaus Museum in Denmark, the Culture Centre in Boleslawiec Poland, the Experimental Pottery Workshop in China and Happy Lucky Site Japan. Presently, Catherine has been working with Momentum Development, ABA Architects, ASP Design Group and JD Development creating site-specific permanent sculptures. 




“Art is located in its form,” Paleczny maintains, “and because of this, the representational aspects of a work of art are less important than those things that embody a thing’s internal identity.  My work essentially relates to the experience of the investigation – the looking and exploring of what is to be found in the environment … The meaning of the work bears less importance. It is not the content that compels me, but instead, the actual forms that manifest through the creation.” 











Artist’s Statement / Project

In my most recent work, I am concerned with investigating the tension created in my objects by contrasting organic and human-made forms. I am interested in dealing with surface texture and material that references the exterior coatings of organisms. The current approach to my work has developed out of a more surface-sensitive (and material-sensitive) appeal.










Each design conceived from nature by combining organic networks of textural and architectural elements aid in formulating the metamorphosis of the original specimen. The act of combining botanical, ambiguous elements helps to create something familiar yet at times somewhat unrecognizable. The use of rhythmic organization can be compared to that of the nature of laying bricks or building supports for walls. These actions aid in the organization of patterns and multiples. Through this technique, it is my intention to encapsulate or define space rather than create mere shapes or forms.

My work is devoted to the microcosms of the organic world and through my personal hybridization, I aim to create a new visual language. The sculptural installations fuse organic crossbreeds in order to establish a new environment that focuses on the integration of bulbous shapes, projections and carved incisions.



Syanthropes, synecology, synecdoche and the triality found within nature lay the conceptual foundation for my work. Synecdoche can be understood to suggest a part-whole relationship, meaning that one or more of the objects created are actually a portion or a part of another existing object. Synecology refers to the ecological interrelationships among communities of organisms. The intention of the objects is to flow across walls as if alive, paying homage to the theory of emergent behaviour. I seek to engage the viewer through the recognition of natural elements. Manipulating physically the surface of the clay to trigger a memory within the viewer.





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