Kim Cridler’s steel vessels are made up of the angular forms and facets of fabricated metal, but among these angles are unexpected organic treasures: berry-like jewels, beeswax, and horsehair. The juxtaposition of materials allows Cridler to explore vessel forms as a means for holding memory and meaning. “I was making raised hollow ware, like that made by Paul Revere, and was fascinated with the kind of work that carried a lot of sentimental value in families. I learned about my family through these types of things… The reason they were important was the family connections, the memories and the sentiment that invested in the objects, not how they were used. I started making objects that were stripped down, torn apart, because I wanted to get the emotional charge these things carry.”
Mayme Kratz, Marie Navarre, and Kim Cridler convey a relationship between human aesthetic, practice, and biological patterns beyond our control, holding specific memories of our world while introducing the possibility of existence within changed landscapes.