JavaScript Menu is only visible when JavaScript is enabled. PLEASE enable JavaScript John Byrd at the Mindy Solomon Gallery | Miami, Florida

John Byrd // Untitled (Bull)
17 x 19 x 13 inches
polished yellow porcelain, mixed media

I am interested in the nature of the autonomous, decorative object and the perception of finely crafted skill used to exhibit a persistent commitment to an idea or exploration. Contextually speaking, my work tends to be derivative of specific aesthetic qualities that I associate with my personal autobiography. Growing up in the rural mountains of North Carolina, I had little exposure to art. Always a visual thinker, I found myself cataloging the visual descriptors of my place within this culture.

I generally assess a particular hierarchy of materials that I associate with this aesthetic and often apply skilled processes to either contradict or reinforce my understanding of them. Important to me is the idea of “double coding,” both honoring and critiquing my common inspirations as well as the more artistic elite. On some level, my work is generally designed to be both beautiful and disturbing.

In regards to my use of animal specimens, while often more of a formal decision, I feel that absolutely all people, in one way or another, act to both honor and consume animals. My own direct use forces me to more readily acknowledge my own conflicted consumptive role. To some extent, I am interested in the ego attached to this process and sometimes attempt to almost “justify” the death of the animals by including them in a ridiculous setting that makes them seem more like humorous participants rather than victims.

In regards to the potential empathic response of the viewer, I find that people are apt to draw their own defining ethical lines in regards to their connection with animals, often influenced by their own distinct upbringings. I make no attempt to be a moral compass on this subject. My work is simply a personal study of my own hypocrisy as a participant in the notion of both honor and consumption.

John Byrd an Assistant Professor at the University of South Florida. He received his BFA in Ceramics from Louisiana State University and his MFA in Ceramics from the University of Washington in 2000. His work has been shown in galleries and museums throughout the United States and abroad.


Master of Fine Arts University of Washington, 2000
Bachelor of Fine Arts Louisiana State University, 1997

Ceramics from the Collection of Joan Byrd & George Rector, WCU Museum of Fine Art, Cullowhee, NC
Dark Matter - Ceramics Biennial 2014, Boehm Gallery, Palomar College, SanvMarcos, CA

Southern Fried, Mindy Solomon Gallery, Miami, FL
Ceramics from the Kolva-Sullivan Collection, The Museum of Art/WSU, Pullman, WA

When Elephants Weep, FLA Gallery, Gainesville, FL
Select Fair, The Catalina Hotel, Miami, FL
Detailed Information, Mindy Solomon Gallery, St. Petersburg, FL
Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del
Vecchio Collection, The Museum of Fine Arts Houston, Houston, TX  

Florida Souvenir, Mindy Solomon Gallery, St, Petersburg, FL
Collaborations, Blue Acier Gallery, Tampa, FL
Untitled Group Exhibition, Scope Fair, Mindy Solomon Gallery, Miami, FL

Games of Antiquity, Gasser Grunert Gallery, New York, NY
Bright and White, Mindy Solomon Gallery, St. Petersburg, FL

Untitled Group Exhibition, Verge Fair, Mindy Solomon Gallery, Miami, FL

Confrontational Ceramics, Arts Exchange, White Planes, NY
Full & Spare / Clay in the 21st Century, FSU Museum of Fine Arts, Tallahassee,FL
Everyday Atrocities, USF Contemporary Arts Museum Tampa, FL
A Human Impulse: Figuration from the Diane and Sandy Besser Collection, ASU
Art Museum, Nelson Fine Arts Center, Tempe, AZ
Material Transcendence: Clay as Commentary, UA Fine Arts Center Gallery,Fayetteville, AR

SOFA Chicago, Festival Hall, Navy Pier, Chicago, IL
Point of Departure, Dean Project, Long Island City, NY
Man and Beast, Garth Clark Gallery, Long Island City, NY
4th World Ceramic Biennale Icheon World Ceramic Center, Icheon, Korea
John Byrd & Adelaide Paul, Garth Clark Gallery, New York, NY

One Part Clay, Dean Projects and Garth Clark Gallery, Long Island City, NY
Feral Nature, University of Texas at Dallas, Dallas, TX
One Part Clay, Dean Projects, SOFA New York, New York, NY
Sensibility, Ash Street Projects, Portland, OR
Thresholds: Innovative Clay, Ogle Gallery, Portland, OR

UnNatural History, Kittredge Gallery: University of Puget Sound, Tacoma, WA
Arcimboldo, PNW Gallery, Seattle, WA
Animal Instinct, Baltimore Clayworks Gallery, Baltimore, MD
Man’s Best Friend, Santa Fe Clay Gallery, Santa Fe, NM

New Works, Oculus Gallery, Baton Rouge, LA

From the Neck Up, Garth Clark Gallery, New York, NY
(Im)mortal Clay, Garth Clark Gallery, Long Island City, NY

Tastefully Tawdry, Wexler Gallery, Philadelphia, PA
Groundswell, Garth Clark Gallery, Long Island City, NY
Blue & White, Garth Clark Gallery, New York, NY
New Work, Garth Clark Gallery, New York, NY

Myhre Fellow Exhibition, Warehouse Gallery, Archie Bray Foundation, Helena, MT

Menagerie, Kirkland Art Center, Kirkland, WA

Summer Works, Sperry Gallery, University of Washington, Seattle, WA

2010 Virginia A. Groot Foundation Award, Second Place
2007 4th World Ceramic Beinnale, Korea Juror’s Award
2004 Virginia A. Groot Foundation Award Second Place
2001 Myhre Fellowship Archie Bray Foundation,
1999 Kottler/Noritake Scholarship University of Washington, Gonzalez Scholarship University of Washington
1997 Charles Craig Travel Award, Louisiana State University, In Memory of Joseph Aurbach 1996 Berringer Ceramics Award Louisiana State University

2013 Maryland Institute College of Art, Edinboro University
2010 Penland School, University of Florida
2009 San Diego State University, University of Oregon, 2009 Western Carolina University
2008 Southern Methodist University, 2008 CAA Conference Panel, Dallas
2007 Santa Fe Clay, CAA Conference Panel, New York, 2007 University of Louisiana Lafayette
2005 San Jose State University, 2006 University of Washington
2004 University of Central Arkansas, 2004 University of Northern Michigan 2003 California State at Long Beach
2002 University of Colorado, Boulder, Penn State University, Louisiana State University, Kansas City Art Institute

Lovelace, Joyce, work image in “Sculpture Unleashed,” American Craft
Magazine, Vol. 24, Issue 6, November 2014.

Art in America, exhibition announcement with photograph, June – July 2012. 81
Ceramics – Art and Perception, exhibition announcement with photograph, July 2012. Back Cover  Clark, Garth and Del Vecchio, Mark, essay “Born of Clay”. From: Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio
Collection; Clark, Garth and Strauss, Cindi editors. Yale University Press, 2012. p.258-259

Voeller, Megan, exhibition review “Bedeviling Details,” Creative Loafing, July 5-11, 2011. P. 25

Lee, Paula Young, essay “GOING TO THE DOGS, Savage Longings in Hunting Art.” From: Hunting - Philosophy for Everyone: In Search of the Wild Life; Kowalsky, Nathan, editor. Wiley-Blackwell Publishers, 2010.
Davis, Kathryn M.: “The Third Act,” Trend – Art+Design+Architecture, Summer 2010, p.44-45

Archer, Sarah: “Kitchen Table Politics,” American Craft, February/March 2009

Genocchio, Benjamin: “Ideas Abound in Clay: Ceramics That Go Beyond Bowls,” The New York Times, November 28, 2008 (show review). 
Schwartz, Judith S.: Confrontational Ceramics, A & C Black Publishers Ltd. 2008, p. 227
Bernstein, Fred A.: “Sacrificing Space for Scenery,” The New York Times, June1, 2008 (work mention).
Held, Peter, editing; Bonansinga, Kate, essay: The Human Impulse, Figuration From the Diane and Sandy Besser Collection, Perpetua Press, 2008, p. 30-31
Tarkasis, Kostas, Editor: Clay In Art International Yearbook, Stachosi -Athens,Greece. 2006/2007 ISSN: 1790-6458, p. 25

Reichert, Elizabeth; “Encountering Hybridisation, Avant-Garde Ceramics and Mixed Media,” Ceramics Art and Perception, Issue 68, 2007. P. 47-52
Reichert, Elizabeth; “John Byrd, Indeterminate Histories,” Ceramics Art and Perception, Issue 67, 2007. P. 61-64
Perereault, John; “Review: One Part Clay,” American Craft, Mar. 2007. P. 106- 107

Reichert, Elizabeth; “Review: One Part Clay,” Ceramics Monthly, Nov. 2006, p.21-22
Tourtillot, Susan, Editor: 500 Animals in Clay, Lark Books 2006, p. 249, 317, 325

Tourtillot, Susan, Editor; The Figure in Clay. Lark Books 2005, p. 105,106
Sculpture; November 2004, p. 3. Groot Award Recognition
Art in America; October 2004, p. 66. Groot Award Recognition
American Craft; October/November 2004, p.15. Groot Award Recognition

Ceramica: Revista Internacional. No. 88 – 2003, p. 75, 78
Morgenthal, Deborah and Tourtillott, Suzanne, Editors; The Penland Book of Ceramics. Lark Books 2003

Coates, Brenda; Times-News, June 2002
MacLeod, Chris; “Mixed Media,” City Week, May 30, 2002
New York Guide, Art Now, May 2002

Clark, Garth; “Garth Clark, Life and Works,” The Studio Potter, December 2001
Clark, Garth; “Going for the Gold,” Ceramics Monthly, October 2001

Davis, Don; Wheel Thrown Ceramics, Lark Books 1998.