Christie Brown

My interest in the human-animal hybrid began in 2003 with a work entitled Entre Chien et Loup in which the figures began to sprout animal characteristics as a metaphor for change. A residency at the Petrie Museum of Egyptian Archaeology (2006),  followed by 3 months at Hunter College in New York, in close proximity to the Met and its wonderful Egyptian collection, helped me to focus on a theme which offers a range of meaning and explores the relationship between humans and animals through symbolic representation. My sculpture is often inspired by the incomplete narrative and fragmented state of archaic objects and grave goods. These artefacts include figurines of deities which demonstrate an approach to the animal world that is very different from our present day mix of exploitation and sentiment.

My interest in the past connects to the parallel between archaeology and psychoanalysis, disciplines which engage with literal and metaphorical fragments where layers are slowly stripped away to reveal hidden knowledge in order to understand more about ourselves and our ancestors. The archaeology metaphor is a powerful source of inspiration and
Sigmund Freud’s collection of archaic figurines includes several human–animal deities. Freud used the image of a fused human and animal to describe the way two dream images can be condensed together and this concept informs my current preoccupation with the idea that, because we project emotions onto inanimate objects, they may come to life when we  fall asleep..
Christie Brown

 Professor of Ceramics, University of Westminster
1993-01  Lecturer in Ceramics, University of Westminster
1980-82  Harrow School of art Higher Diploma 
1966-69  Manchester University BA degree

 Artist in Residence Award II, International Ceramics Research Centre, Guldagergaard, Denmark
2005  Arts and Humanities Research Council, Small Grant in the Creative and Performing Arts. For Collective Traces; A response to the Petrie Museum
2001  British Council assistance for solo show in Perimeter Gallery, Chicago, USA

Solo Exhibitions
 Hybrid Toys, The Ideas Store Whitechapel, London.
2006  Collective Traces, Institute of archaeology, UCL, London
Foundation Deposits, Artist in Residence Exhibition, Hunter College, New York, USA 
2004  Christie Brow, Heidi Morstang, London Gallery West, Harrow
2003  Between the Dog and the Wolf, Kingsgate Gallery, London

Selected Group Exhibitions
 Hermaphrodites, Wexler Gallery,Philadelphia USA
Nude in Chicago, Perimeter Gallery, Chicago USA
Crucible, with Gallery Pangolin, Gloucester Cathedral
Taiwan Ceramics Biennale, Taipei, Taiwan
Contemporary British Studio Ceramics: the Grainer Collection
Mint Museum, Charlotte, USA (catalogue)
2009  In the Mix, Pangolin London, King’s Place, London
Fire and Brimstone, Gallery Pangolin, Stroud.
Ceramics from Great Britain, Galerie fur Angewandte Kunst, Munich.
2008  Myths and Legends, Contemporary Applied Arts, London
Sterling Stuff 2, Pangolin London, King’s Place, London
Collect. Victoria & Albert Museum London. Represented by Contemporary Applied Arts
2007  After Life: Collective Traces, Egyptian Galleries, Manchester Museum
SOFA NY with Loveed Fine Arts, New York
Women Touch: Ceramics, Loveed Fine Arts, A.I.R Gallery, New York 
Sculpture and the Figure, Rex Irwin Arts, NSW, Australia
2006  Collect, Victoria and Albert Museum with Cosa Gallery
2005  Body Language, Gallery Pangolin, Stroud
The Fragmented Figure, University of Wales Institute, Cardiff
SOFA New York, with Clay, Los Angeles, USA
Celebrating 30 Years, Crafts Council Shop at the V&A

Public Collections
Victoria and Albert Museum, London
Musee National de Ceramique, Sevres, France
The Museum of Decorative Arts, Montreal, Canada
The Royal Museum of Scotland, Edinburgh
Buckinghamshire County Museum, Aylesbury
York City Art gallery, Yorks
Longhouse Foundation, East Hampton, USA
The Museum of fine arts Racine, USA

Collective Traces, Paper given at exhibition seminar, Institute of archaeology, London, 2006. Published in “Ceramics Technical” Issue 23
Embodying Transformation, Paper given at the Fragmented Figure Conference in UWIC Cardiff and the Storytelling and Poetry Seminar at The International Ceramics Centre Guldagergaard, Denmark in 2005. Published in online journal “Interpreting Ceramics” No 8, 2006




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