From April 10 to July 20, 2003, the traveling public will have the opportunity to see both functional and sculptural ceramic art at Denver International Airport, located on the sixth level before the security screening at Concourse A. Mimi Moore, Exhibition Manager of the Art Program at DIA, selected artists from the previous show held during the NCECA Conference in Denver, from the Weststaf mailing list and from three local galleries. Wanting to show the breadth of the medium, she accepted works that addressed the figure, flora and fauna, function, as well as abstract and postmodern sensibilities. In short, safe and risky contemporary ceramics suited to her taste, which she developed while starting Denver's first truly contemporary gallery, Sabastian Moore. Moore is among a group of art program directors hired by airports to give exhibition space to artists while entertaining and educating the public. Colleen Fanning, Art Program Manager, assists Moore along with a group of volunteers who have the daunting task of setting a show for fifty-two ceramic artists.

Some of the ceramic art is exhibited in large, green-tinted, glass cases, vitrines. The viewer is reminded of the cases invented by surgeon Nathaniel Ward in 1829, that allowed the transport and keeping of ferns. Eventually the cases were turned 180 degrees, which brought on the next Victorian craze, aquariums. Turned again and locked up, the cases are now used for exhibiting art. The other works, mostly intended as wall pieces, are covered by a sheet of Plexiglas, giving them a truer color representation but blurry under the dense quality of the protective material necessary for the environment. The massive scales of Jun Kaneko's 'Untitled Dango' and Deborah Masuoka's 'Rabbit Head' shirk all coverings: Kaneko's subtly bleeding dots can be fully appreciated. On the opposite end of scale are Leah Hardy's miniature trees, fully uprooted and dangling in a golden box.

Blair Meerfeld's functional salt-fired vessels explore ordinary service forms with minimal clarity. Meerfeld comments: "Most recently, I have been exploring the horizontal and vertical edge, defining separate surface planes that seem to agree with atmospheric methods of firing. The objective of my work is to unite traditional processes with contemporary color and form, resulting in a unique statement in clay."

Two artists, Vicky Smith and Maynard Tischler, used the interior spaces of the vitrines to literally support their work. In 'Spring Gardening' Tischler leaned ceramic tools against the inside of the glass walls while Smith used the entire interior space (60 x 46 x 20 inches) to hold 'The Wishing Well.' Smith was in the First Ceramics Invitational at DIA and was aware of the reflective light from the glassed corridor where the vitrines are placed. Thinking about the impending war, Smith created a three-tired sculpture imbued with symbolism. The first tier presents clouds with children's hands holding slices of mica that are translucent enough to see all the way through the vitrine glass and the corridor glass. One gets the sense of standing inside a Wardian case. At eye level, lustrous teardrops of hope fall from the sky onto the third level where the Wishing Well sits. Inside of the well a large piece of pyrite symbolizes reward and hope. Smith realizes another name for pyrite is 'Fool's Gold' and she remarks: "We need hope especially in uncertain times."

The Second Ceramics Invitational at DIA gives the public an opportunity to see a myriad of examples of fired clay, as well as providing artists with a unique environment to show their work.

Beyond this show, DIA has two compelling public art pieces: Betty Woodman's ceramic 'Balustrade' at the top of the escalators on the sixth floor and Terry Allen's 'Notre Denver' in the baggage claim area.

To find out more about the DIA show visit: http://www.flydenver.com/guide/art/current.asp.

Mary Cay is a studio ceramicist living in Conifer Colorado.