reform

reform is an exhibit by Workhouse Building 8 resident Ceramics artists that reflects on the history of their building and the nature of transformation.

“This building, this very spot, was a crowded dormitory when this site was a federal prison; the red clay bricks which comprise these walls were made by inmates. Former prisoners and guards have visited, and we have heard their tales of violence and despair.

As resident artists we are literally surrounded by this history. The particular transformation from workhouse reformatory to clay studio has greater meaning that a mere repurposing of space. It is never lost on us that our work with clay is transformation itself.”

Artists and Artist Statements

For purchase inquiries, please contact Gallery Manager, Audrey Miller, or (703) 584-2911.

Sarah Petty
Sarah Petty
Pam Eisenmann, Red and White Jar

Glazed Ceramic

$115

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagerym as in the anciet Egypitan-inspored canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Pam Eisenmann, Red Lobed Jar

Glazed Ceramic

$115

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagerym as in the anciet Egypitan-inspored canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Pam Eisenmann,Jade Green Sprouts

Glazed Stoneware

$130

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagerym as in the anciet Egypitan-inspored canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Pam Eisenmann, Dog Canopic

Glazed Stoneware

$220

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagery as in the anciet Egyptian-inspired canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Pam Eisenmann, Feathered Falcon Canopic

Glazed Stoneware

$250

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagery as in the anciet Egyptian-inspired canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Pam Eisenmann, Slender Falcon Canopic

Glazed Stoneware

$225

As this complex of buildings has been transformed from a place of prison labor to a place of artistic activity, so has it been a place of change and renewal for the work I produce. The environment of creative energy and collegiality encourages inspiration and exploration.

The body of work exhibited here evolves from an exploration of form, altering of vessels and discovery of where the form transformation will lead. I take inspiration from the malleability of clay, images in nature and historical imagery as in the anciet Egyptian-inspired canopic jars; the vessels express their own stories through imagined creatures and embellishments.

Kristen Morsches

Taking walks around the Workhouse Arts Center has revealed some of the past usage of this site. The buildings we occupy as artists have been transformed into creative spaces. Other areas are slowly decaying and nature is taking over. Parts of this piece I have created are made from Occoquan River clay, the same clay that was formed into bricks for the structures here. The clay is manipulated and reformed into a lichen that is generating new life. A tree emerges from it and leaves are growing, representing the repurposing of this space from one of control to that of openess and creativity.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Joan Ulrich

revision

Composing multi-part objects confounding and inspiring at once. So many possible iterations – one is decided upon, but other options continually suggest themselves.

The loose process of sketching with raw clay describes what else might have happened here: adjusting a curve, adding features, or complete reinvention. The unfussy tools are a hammer, butter knife, and hands; a welcome departure from calipers and the drying box.

At last some play. I am neither a fluid thrower nor bold hand builder. Making pots is focused work for me, rarely play. It’s my nature to refine things to death, even though the artwork I most covet and collect is gestural and seemingly casually created.

Novel processes can be a direct bridge to growth or linger in our experience library for future need. Liberation from the idea of “making permanent” is a worthwhile process itself. It includes the lovely absence of glazing, firing, and pricing decisions and for this body of work, the awareness that it hits the trash bin on April Fool’s Day.

Christy Boltersdorf, Flourish #3

Black Stoneware

$475

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acceptance, and second chances.

Christy Boltersdorf, hope Contained #2

Black Stoneware

$225

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Christy Boltersdorf, Hope Series #1

Black Stoneware Carved

$175

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Christy Boltersdorf, Renewal #7

Porcelain Platter

$325

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Christy Boltersdorf, Pursuit #6

Porcelain

$265

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Christy Boltersdorf, In Search #5

Porcelain Vase

$245

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Christy Boltersdorf, Release #4

Porcelain

$200

Hope

Contemplating the cold, harsh reality of my surroundings which once imprisoned the minds and bodies of so many lost souls, I’m drawn into the heavy sadness and hopelessness that encompassed their bane existence behind the fences, wire, and walls. Survival depended upon clinging to that thin thread of hope that something better lay ahead in the future. Hope is a lifeline. It seeks forgiveness, understanding, serenity, and a second chance. It often emerges from our darkest moments in life.

My work attempts to reflect a journey of hope, breaking away from darkness’s grasp. Freeing itself from the shadows of despair, it begins to flourish and grow, becoming stronger as it is bathed in the warm embrace of the light. The journey leads to a place of tranquility, peace, contentment, acc

Brian Grow, Composite Vase #2

Wood Fire Stoneware

$1,300

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Trough #7

Wood/Salt/Soda Stoneware

$110

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Composite Vase #5

Wood/Salt/Soda Fired Stoneware

$600

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Composite Vase #4

Wood/Salt/Soda Fired Stoneware

$600

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Stack Vases

Left piece:

Wood Fired Stoneware

$500

Right piece:

Wood Fired Stoneware

$500

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Teapot

Wood/Salt/Soda Fired Stoneware

$120

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Construct Teapot

Wood/Salt/Soda Fired Stoneware

$240

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Shino Teapot

Wood Fired Stoneware

$160

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Compression #2

Oxidation Terracotta

$360

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

Brian Grow, Compression #5

Oxidation Porcelain

$390

This space of transformation more than the mere repurposing of a reformatory. The brick and stone tell a story of hope. It speaks of creative vision. Intentionality. And the belief that our work itself may be a testimony to that very transformation.

The series of work that I have selected responds to that transformation. Transformation and its juxtaposition component. The start complements the finish. Earthy textures are contrasted with more controlled surfaces implying change. In several cases functional meets the sculputural  in a single place. These ideas are the genesis of this selection of work.

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