ALISON KENNEDY
Mermaid (side 1)
Plaster cast, 17.5 x 6 x 16 (HxWxD), $250
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Mermaid (side 2)
Plaster cast, 17.5 x 6 x 16 (HxWxD), $250
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Mermaid (side 3)
Plaster cast, 17.5 x 6 x 16 (HxWxD), $250
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Mother (side 1)
Greenware (unfired water-based clay), 13.5 x 19 x 10 (HxWxD), NFS
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Mother (side 2)
Greenware (unfired water-based clay), 13.5 x 19 x 10 (HxWxD), NFS
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Skull study no. 1 (side 1)
Soldate 60, water-based clay, 5.5 x 4.5 x 8 (HxWxD)
Original sculpture NFS, Plaster casts $150 each
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Skull study no. 1 (side 2)
Soldate 60, water-based clay, 5.5 x 4.5 x 8 (HxWxD)
Original sculpture NFS, Plaster casts $150 each
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Skull study no. 1 (side 3)
Soldate 60, water-based clay, 5.5 x 4.5 x 8 (HxWxD)
Original sculpture NFS, Plaster casts $150 each
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
ALISON KENNEDY
Skull study no. 1 (side 4)
Soldate 60, water-based clay, 5.5 x 4.5 x 8 (HxWxD)
Original sculpture NFS, Plaster casts $150 each
2nd Year in Magrath Atelier

“Art is an opportunity to explore our relationship to life and death. I attempted to channel that exploration, finding beauty in things finished and unfinished. As greenware “Mother” is a living sculpture embodying life and decay, she is a personification of nature that will eventually crumble with age. Each piece represents aspects of our aliveness becoming other, from the lightness of Mermaid, to the decay of Mother, and the stillness of Skull study no. 1.”
APRIL PHILLIPS
Stephanie (side 1)
Water-based clay, 13 x 8 x 8 (HxWxD), NFS
1st Year in Magrath Atelier
APRIL PHILLIPS
Stephanie (side 2)
Water-based clay, 13 x 8 x 8 (HxWxD), NFS
1st Year in Magrath Atelier
ART BUTLER
Spinning Out-Together/Apart (view 1)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Spinning Out-Together/Apart (view 2)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Spinning Out-Together/Apart (view 3)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Spinning Out-Together/Apart (view 4)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Spinning Out-Together/Apart (view 5)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Spinning Out-Together/Apart (view 6)
Wire, aluminum foil, oil-based clay, 17 x 12 x 5, 20 x 10 x 8 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
Something’s Happening Here
Wire, aluminum foil, oil-based clay, 22 x 5 x 11 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ART BUTLER
The Weight
Wire, aluminum foil, oil-based clay, 21.5 x 5.5 x 11 (HxWxD), NFS
4th Year in Magrath Atelier

These figure studies are meant to encourage the viewer to provide his/her/their own narrative whenever they view them. Spinning Out is a multi-figure study. The two figures can be placed together or apart. Something’s Happening Here was suggested by the Buffalo Springfield song “For What It’s Worth”. It is intended to suggest that moment when we recognize that something sinister is happening. The Weight is intended to suggest the effect of the burdens we carry.
ASHER WINGFIELD
Francis (side 1)
Oil-based clay, 18.5 x 5 x 9 (HxWxD), NFS
1st Year in Magrath Atelier
ASHER WINGFIELD
Francis (side 2)
Oil-based clay, 18.5 x 5 x 9 (HxWxD), NFS
1st Year in Magrath Atelier
ASHER WINGFIELD
Francis (side 3)
Oil-based clay, 18.5 x 5 x 9 (HxWxD), NFS
1st Year in Magrath Atelier
BILL FLETCHER
Awaken (side 1)
Water-based clay, 14 x 12 x 24 (HxWxD), NFS
3rd Year in Magrath Atelier
BILL FLETCHER
Awaken (side 2)
Water-based clay, 14 x 12 x 24 (HxWxD), NFS
3rd Year in Magrath Atelier
BILL FLETCHER
Rooted (side 1)
Oil-based clay, 16 x 12 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier
BILL FLETCHER
Rooted (side 2)
Oil-based clay, 16 x 12 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier
BILL FLETCHER
Rooted (side 3)
Oil-based clay, 16 x 12 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier
BILL FLETCHER
Rooted (side 4)
Oil-based clay, 16 x 12 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier
CHELSEA HANSEN
Un-Becoming (side 1)
Oil-based clay, 12 x 7 x 8 (HxWxD), NFS
1st Year in Magrath Atelier

“I altered the pose of the model by separating her wrists from her hands and applying a medical mask to her face. I wanted her to appear helpless and lost in this time of crisis. She gazes at where her hands used to be with wonder, reevaluating who she is or the person that she thought she was.”
CHELSEA HANSEN
Un-Becoming (side 2)
Oil-based clay, 12 x 7 x 8 (HxWxD), NFS
1st Year in Magrath Atelier

“I altered the pose of the model by separating her wrists from her hands and applying a medical mask to her face. I wanted her to appear helpless and lost in this time of crisis. She gazes at where her hands used to be with wonder, reevaluating who she is or the person that she thought she was.”
CHELSEA HANSEN
Un-Becoming (side 3)
Oil-based clay, 12 x 7 x 8 (HxWxD), NFS
1st Year in Magrath Atelier

“I altered the pose of the model by separating her wrists from her hands and applying a medical mask to her face. I wanted her to appear helpless and lost in this time of crisis. She gazes at where her hands used to be with wonder, reevaluating who she is or the person that she thought she was.”
CHELSEA HANSEN
Un-Becoming (side 4)
Oil-based clay, 12 x 7 x 8 (HxWxD), NFS
1st Year in Magrath Atelier

“I altered the pose of the model by separating her wrists from her hands and applying a medical mask to her face. I wanted her to appear helpless and lost in this time of crisis. She gazes at where her hands used to be with wonder, reevaluating who she is or the person that she thought she was.”
CHELSEA HANSEN
Un-Becoming (side 5)
Oil-based clay, 12 x 7 x 8 (HxWxD), NFS
1st Year in Magrath Atelier

“I altered the pose of the model by separating her wrists from her hands and applying a medical mask to her face. I wanted her to appear helpless and lost in this time of crisis. She gazes at where her hands used to be with wonder, reevaluating who she is or the person that she thought she was.”
CHELSEA HANSEN
Salty
Plaster, 6.5 x 6 x 10 (HxWxD), NFS
1st Year in Magrath Atelier

“As first-years, Mike asked us to make our peppers into art. The rebel in me was inspired to tag it in graffiti with the word salt. I was sort of rebelling against perceived art world snobbery in general. I had soaked the pepper in milk and wanted the tag to be bright and shocking on top of the beautiful finish.”
JENNIFER MINIFIE
Untitled I (side 1)
Oil-based clay, 21 x 24 x 14 (HxWxD), NFS
3rd Year in Magrath Atelier
JENNIFER MINIFIE
Untitled I (side 2)
Oil-based clay, 21 x 24 x 14 (HxWxD), NFS
3rd Year in Magrath Atelier
JENNIFER MINIFIE
Adrift (side 1)
Soldate clay, 11 x 13 x 15 (HxWxD), NFS
3rd Year in Magrath Atelier
JENNIFER MINIFIE
Adrift (side 2)
Soldate clay, 11 x 13 x 15 (HxWxD), NFS
3rd Year in Magrath Atelier
JENNIFER MINIFIE
Untitled II
Oil-based clay, 11 x 13 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier
KATHY GOODWIND
Memories (side 1)
Soldate 60 greenware, 14 x 18 x 24 (HxWxD), NFS
7th Year in Magrath Atelier

“It took me 75 years to fall in love with clay.”
KATHY GOODWIND
Memories (side 2)
Soldate 60 greenware, 14 x 18 x 24 (HxWxD), NFS
7th Year in Magrath Atelier

“It took me 75 years to fall in love with clay.”
KATHY GOODWIND
Memories (side 3)
Soldate 60 greenware, 14 x 18 x 24 (HxWxD), NFS
7th Year in Magrath Atelier

“It took me 75 years to fall in love with clay.”
MILLIE PINEDA
Mofongo (side 1)
Unfired water-based clay, 11 x 5 (HxW), NFS
4th Year in Magrath Atelier

Celebrates a Puerto Rican dish that speaks to its Indigenous, African and Iberian heritage.
MILLIE PINEDA
Mofongo (side 2)
Unfired water-based clay, 11 x 5 (HxW), NFS
4th Year in Magrath Atelier

Celebrates a Puerto Rican dish that speaks to its Indigenous, African and Iberian heritage.
MILLIE PINEDA
Mofongo (side 3)
Unfired water-based clay, 11 x 5 (HxW), NFS
4th Year in Magrath Atelier

Celebrates a Puerto Rican dish that speaks to its Indigenous, African and Iberian heritage.
MILLIE PINEDA
Zemi (side 1) Oil-based clay, 6 x 11 x 5 (HxLxW), NFS
4th Year in Magrath Atelier

Remembering and acknowledging Taino culture.
MILLIE PINEDA
Zemi (side 2) Oil-based clay, 6 x 11 x 5 (HxLxW), NFS
4th Year in Magrath Atelier

Remembering and acknowledging Taino culture.
MILLIE PINEDA
Zemi (side 3) Oil-based clay, 6 x 11 x 5 (HxLxW), NFS
4th Year in Magrath Atelier

Remembering and acknowledging Taino culture.
MILLIE PINEDA
Storing That Dress Water-based clay, 22 x 15 x 3 (HxWxD), NFS
4th Year in Magrath Atelier

Sometimes a dress is more than clothing- it stores memories.
RACHA HAROUN
Jenny
Soldate clay, 14 x 24 x 12 (HxWxD), NFS
2nd Year in Magrath Atelier
RACHA HAROUN
Jenny 2020 (side 1)
Soldate clay, 4 x 3.5 x 4.5 (HxWxD), NFS
2nd Year in Magrath Atelier
RACHA HAROUN
Jenny 2020 (side 2)
Soldate clay, 4 x 3.5 x 4.5 (HxWxD), NFS
2nd Year in Magrath Atelier
RACHA HAROUN
Jenny 2020 (side 3)
Soldate clay, 4 x 3.5 x 4.5 (HxWxD), NFS
2nd Year in Magrath Atelier
RACHA HAROUN
Scream
Water-based clay, 5 x 10 x 5.5 (HxWxD), NFS
2nd Year in Magrath Atelier
SUNDEE MORRIS
beach (Diorama Series, view 1)
Wire, aluminum foil, oil clay in a natural setting, 10 x 5 x 6, 13 x 5 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
greenery (Diorama Series, view 2)
Wire, aluminum foil, oil clay in a natural setting, 10 x 5 x 6, 13 x 5 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
morning dew (Diorama Series, view 3)
Wire, aluminum foil, oil clay in a natural setting, 10 x 5 x 6, 13 x 5 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
sunrise (Diorama Series, view 4)
Wire, aluminum foil, oil clay in a natural setting, 10 x 5 x 6, 13 x 5 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
sunset (Diorama Series, view 5)
Wire, aluminum foil, oil clay in a natural setting, 10 x 5 x 6, 13 x 5 x 8 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Pillow with bowl impression, drapery study (side 1)
Wet clay, 14 x 15 x 4 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Pillow with bowl impression, drapery study (side 2)
Wet clay, 14 x 15 x 4 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Pillow with bowl impression, drapery study (side 3)
Wet clay, 14 x 15 x 4 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Self portrait (side 1)
Chicken wire, 12 x 16 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Self portrait (side 2)
Chicken wire, 12 x 16 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”
SUNDEE MORRIS
Self portrait (side 3)
Chicken wire, 12 x 16 x 12 (HxWxD), NFS
3rd Year in Magrath Atelier

“Our focus changes when we view two people in a relationship versus a single. In the diorama series, after sculpting the traditional studio nudes in a pose. I explored their placement in different settings and lighting and how that changes one’s perception of the interaction between the sculptures and with the environment, which is significantly different than a gallery or museum setting and becomes a type of artwork in itself.
The pillow with pillowcase is a drapery study showing how the fabric folds and the underlying pillow shape deforms beneath a heavy glass bowl.”

Artwork in this collection is available for purchase, with pick-ups at Gage Academy of Art in Capitol Hill. If interested or for more information on artwork pickup and delivery, please contact Event & Exhibition Manager Erica LeSuer at lesuer.e@gageacademy.org.