A small collection of ceramics is easier to understand with the cupboard open. On the pleasure of handling a pot, the marks left by use, and deciding what deserves another year on the shelf.
Breana Flatley
Objects and the working studio are Breana’s subjects. She is interested in the life of a thing before it looks finished, and in the ordinary tools or awkward arrangements that give a room its particular character.
The stories
A blunt instruction at a doorway leads into the less orderly part of making things: working proofs, rejected arrangements, and decisions that need to stay visible long enough to be reconsidered.
Empty red seats face a closed gold curtain. A look at the theater before an imagined audience arrives, moving from the shape of the auditorium to the closer details of seating and the work around stage lighting.
A gray-coated figure looks toward work gathered in a dark room. Frames and leaning images make the surroundings of attention visible, inviting a closer look at how pictures share a space and how a viewer finds a place among them.
A window gives the same room a different set of conditions every hour. Following a small studio arrangement through an afternoon, with attention to the reflections and shadows that keep refusing to stay in place.
A still life begins to change before another object enters the frame. Moving a bottle, lowering the camera, or leaving more room beside a bowl can alter the whole arrangement. Notes from a tabletop where small adjustments remain visible.