The phrase “ebb and flow” is defined as a recurrent or rhythmical pattern of coming and going or decline and regrowth. It is often used to evoke a sense of calm by suggesting that lows will be followed by highs in an endless and certain course. This usage, however, belies the fact that ebbing and flowing also describes the often fierce dynamism and unpredictability of natural and emotional reality.
Addressing the violence of separation, the practice of keeping memories and the invasive effects of colonialism, Pritika Chowdhry, Chotsani Elaine Dean and Courtney M. Leonard contemplate the past, the present and possible futures in their large scale, ceramic-based installation works. The individual works poetically contemplate the 1947 partition of India, the manual and psychological labor of enslaved and free African Americans and the changed environments and indigenous lifeways brought on by outside occupation and settlement.
Crossing boundaries of traditional studio ceramics, sculpture, and conceptual and political art, the Ebb/Flow multimedia installations deepen access to and interrogate sites of historical and cultural upheaval. In addition, they add to the material and subject diversity of the Weisman’s notable ceramics and American art collections. As such, the Weisman proudly presents these works to evoke reflection on and discussion of some of the most important and resounding issues of our time.
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. Additional general operating support is generously provided by Ameriprise Financial and the Art and Martha Kaemmer Fund of HRK Foundation. Special thanks to the KHR McNeely Family Foundation, thanks to Kevin, Rosemary, and Hannah Rose McNeely, for their support of the Weisman's exhibitions and exhibition-related programming.
Image credits (L to R): Courtney M. Leonard, Breach Logbook 22: Cull (detail), installation view, 2022. Ceramic, paint, and video. Weisman Art Museum commission.; Pritika Chowdhry, Silent Waters (detail), 2009. Ceramic, wax, and sound. 2015.2.1.1-2015.2.1.101; Chotsani Elaine Dean, Comptoir de commerce: saadje, navigeren, waarde, 2022. Ceramic, resin, and seeds. Lent by the artist.
Chotsani Elaine Dean
Chotsani Elaine Dean, b. Hartford, CT, is an artist and Assistant Professor of Ceramics at the University of Minnesota. She received her BFA in ceramics from Hartford Art School and her Master of Fine Arts degree from Sam Fox School of Art at Washington University in St. Louis. Dean is coauthor of the book, Contemporary Black American Ceramic Artists, Schiffer Publishing. She has been in residence at the John Michael Kohler Artist Residency, and is the recipient of a Fulbright Scholar Teaching and Research grant. Dean was the inaugural MJ DO Good resident at Red Lodge Clay Center in Montana, held the position of studio manager at Wesleyan Potters in Middletown, Connecticut, and is the recipient of a Connecticut Arts Grant. She has lectured and exhibited widely in solo and group exhibitions and has taught at institutions including Banaras Hindu University in Varanasi, India, University of Connecticut, Connecticut College, and Hartford Art School.
Pritika Chowdhry
Pritika Chowdhry is an artist, curator, and writer whose artworks are in public and private collections. Born and brought up in India, Pritika is currently based in Chicago, IL, USA. Pritika has an MFA in Studio Art and an MA in Visual Culture and Gender Studies from UW-Madison. Pritika has taught at Macalester College and College of Visual Arts, both in St. Paul, Minnesota. Pritika is the recipient of a Vilas International Travel Fellowship, an Edith and Sinaiko Frank Fellowship for a Woman in the Arts, a Wisconsin Arts Board grant, and a Minnesota State Arts Board grant.
Courtney M. Leonard
Courtney M. Leonard (Shinnecock, b.1980) is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonard’s current work embodies the multiple definitions of “breach”, an exploration and documentation of historical ties to water, whale and material sustainability. In collaboration with national and international museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of cultural viability as a reflection of environmental record.
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