Amber Rane Sibley, a New York-based ceramic sculptor, explores the constraints of narrative identity in her artwork, featuring figures embodying self-deception and self-constructed mythologies. Sibley's work, born from diverse experiences in Vermont's mountains and Nantucket's shores, also embraces her history in theatre and television. Celebrating ceramics for encapsulating human themes, she exhibits her work extensively in New York City.
Bound Bobs & Others
Uncensored incarceration caused by narrative identity
June 25, 2019
Art
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Amber Rane Sibley, a ceramic sculptor based in New York, delves into the new constraints arising from her artwork's narrative identity. Her pieces teem with figures acting as stand-ins for the collective, embodying self-deception and self-constructed mythologies. These figurines, although powerful, are nonprehensile and devoid of limbs, frequently having their vision willingly hindered. Regardless of their condition, these figures are inert, not inclined to alter their circumstances.
Sibley investigates the fear-ridden recesses of those who claim to be chosen, divinely special, or habitually idle. She encounters within them an apprehensive inner child yearning for comforting bedtime stories to ease the harsh realities of everyday life. She provides these figures with portraits, thus giving form to their dread, uncertainties, and scrutinized facts. Consequently, these figures emerge as deceivingly optimistic, sweetened illustrations of ignorance, those left unselected and unaware. Are we to welcome these figures as vulnerable companions seeking assistance or as shadowy reflections we've chosen to ignore?
Sibley cherishes ceramics because it encapsulates the distinctively human themes that form the essence of her work. The medium embraces imperfection, loves the fundamental role of the human hand in its creation, and uncovers the hidden enigmas in its process. Like narrative identity takes time to reveal its impacts and remains forever unpredictable, a glazed and fired ceramic piece keeps its final form a mystery.
Having grown up amidst the rural mountains of southern Vermont and the sandy shores of the Nantucket Sound, Sibley's early experiences have carved out a lasting dichotomy that echoes in her and her art. She started her career in theatre and television, spending over a decade creating props and puppets for productions like Blue Man Group and NBC's Sunny Side Up Show. She refined her interpretation of abstract narrative while performing in Burlesque, devising a string of award-winning, hilariously outlandish acts. She is a proud recipient of a BFA from Hunter College and is pursuing her ceramic MFA at Tulane University. Her work has been showcased in solo and group exhibitions at esteemed venues such as the Fierman Gallery, First Street Gallery, Gallery Petite, and Leubsdorf Gallery in New York City. She continues to live and work in New York.
紐約陶瓷雕塑家Amber Rane Sibley深入探索從她的藝術作品中產生的新的敘述身份的限制。她的作品充滿了作為集體替代者的人物，體現出自我欺騙和自我構建的神話。儘管這些小雕像具有強大的力量，但它們卻無法伸展和無四肢，常常自願地限制自己的視覺。無論它們的條件如何，這些人物都是惰性的，沒有改變自身環境的傾向。
Sibley研究那些聲稱被選中、神聖特別或習慣性懶散的人充滿恐懼的內心深處。她在他們中間發現了一個憂慮的內在兒童，渴望獲得安慰的睡前故事，以減輕日常生活的嚴酷現實。她為這些人物提供肖像，從而賦予他們的恐懼、不確定性和被審查的事實形態。因此，這些人物變得虛假地樂觀，是對無知、被遺忘和無知的甜蜜描繪。我們是否應該歡迎這些人物作為尋求幫助的脆弱夥伴，還是作為我們選擇忽視的陰影反射？
Sibley珍愛陶瓷，因為它包含了構成她作品本質的獨特的人類主題。這種媒介擁抱不完美，熱愛人手在其創作中的基本角色，並揭示其過程中的隱藏謎團。就像敘述身份需要時間來揭示其影響，並永遠無法預測，一個經過釉燒和燒製的陶瓷作品也保持其最終形態的神秘。
在佛蒙特州南部的鄉村山區和南塔克特海峽的沙灘上成長的Sibley，早期的經歷在她和她的藝術中留下了持久的二元性。她在戲劇和電視行業開始了她的職業生涯，為藍人團和NBC的Sunny Side Up Show等製作過十年的道具和木偶。在Burlesque的表演中，她精煉了她對抽象敘述的理解，設計了一系列獲獎的、滑稽離奇的表演。她是Hunter College的BFA的得主，正在Tulane University追求她的陶瓷MFA。她的作品在Fierman Gallery、First Street Gallery、Gallery Petite和Leubsdorf Gallery等知名場所的個展和群展中展出。她繼續在紐約生活和工作。
Amber Rane Sibley
Amber Rane Sibley is a New York-based ceramic sculptor. Sibley's work explores uncensored incarceration caused by narrative identity. Amber describes the characters that populate her work as surrogates for the collective. They are containers of self-deception and self-myths, crippled creatures weakened by their own will. They are superior without limbs and non-grasping, often voluntarily obstructed vision. However, they did not try to change their destiny.
As Sibley digs into the dark caves of the self-proclaimed chosen, the spiritually special, or the habitually inert, she discovers that inner-feared children are looking for bedtime stories to calm the torments of waking life. Instead, she provides them with portraits that embody fear, the unknown and an examination of reality. Thus, the numbers become hopeful, representative of the compote of the novel, the unchosen and the ignorant. So, do we see them as helpless companions in need or as dark mirrors we avoid?
Amber Rane Sibley 是居住於紐約的陶瓷雕塑家。 Sibley 的作品探討了由敘事身份導致的未經審查的監禁。Amber 描述說填充她作品的人物是集體的替代品。他們是自欺欺人和自我神話的容器，是被自己的意志削弱的殘廢生物。他們是優越的無肢和非抓握，經常自願受阻的視力。然而，他們並沒有努力改變自己的命運。
當 Sibley 挖掘自稱被選中的人、精神上的特殊人或習慣性惰性的人的黑暗洞穴時，她發現了內心恐懼的孩子正在尋找睡前故事來平息清醒生活的折磨。她為他們提供肖像以體現恐懼、未知和對現實的審視。因此，這些數字變得充滿希望，是對未知、未選擇和無知的蜜餞的代表。那麼，我們是把他們當作需要幫助的無助夥伴還是我們避開的黑暗鏡子？
