Imagillaboration Collaborative Sculpture Project

GROUP 5 FACILITATOR

Kelly Ludeking, Minneapolis Minnesota

I Graduated with a BFA from Minneapolis College of Art & Design in 97'. I teach Sculpture at Luther College in the summer for the Dorian Music and Arts Camp. I have been traveling around to as many pours as possible. Some I teach at and some I just show up to learn more. I am a co-director of Foundry Education and Fine Arts (a traveling iron pour road show.) Also, Showing in a number of galleries around the Twin Cities.

Wayne Potratz, Minneapolis Minnesota

BS Art and Education Macalester College 1964. MA University of California, Berkeley 1966. Professor University of Minnesota since 1969. Potratz has an extensive record of international, national, and regional exhibitions, lectures, workshops, and conferences dating from 1964. Founder [along with Prof Thomas Gipe] of the International Conference on Contemporary Cast Iron Art.

Katerina Sanerib, Milwaukee Wisconsin

Has not submitted information or photos for who's who

Felicia Glidden, Saint Paul Minnesota

I started casting iron 5 years ago after spending 20 years studying modern dance and painting abstract expressionist paintings. I travel as much as i can to cast iron and the process is as intriging to me as the finished work. My latest work involves casting sculptures that appear in my dreams.

Mira Rychner, Milwaukee Wisconsin

Eric Stephenson, Chicago Illinois

Website

My objects explore the connections formed when spaces as diverse as a spun cocoon and a constructed vessel are juxtaposed. By using the body as a means of surveying space, and by contrasting the organic and the man-made, the work investigates the point of transition that occurs when these diverse conditions collide. Additionally, the artifacts represent a timeline - or singularly, a time piece - which reveals a strong connection to process. This is demonstrated by the materials chosen to visualize the work - bronze, ceramics, steel and cast iron - which are heavily dependent on process, and by the finishes, which emphasize the effects of aging and of time.

Michael Bigger

Mineapolis Minnesota

Website

My work is generally non-narrative. It is concerned with formalist issues such as form, space, proportion and materials. Other considerations are implied motion, balance, intersection and penetration of elements, and final finish. I work in all scales, but large scale is my favorite expression. I have worked with stone, wood, cast metal, steel, and aluminum. I prefer steel and aluminum due to the additive aspect of welding, which has its roots in my architectural training. I am a builder, not a story teller. The physicality of the sculpture is of primary importance; the narration is less important. I prefer to provide the viewer with an impression, rather than actual information. I think that sculpture should command the viewer's attention and stir his imagination. One of the many reasons that I enjoy being a sculptor is the process....It is dirty, noisy, sweaty, hard work. The process pits me against the material. I enjoy the physical confrontation, the manipulation of the form from an unyielding material, the joining of parts to produce a whole, and using the material in such a way that strength and weight are both real and denied. M .D. Bigger.

Daniel Dricken

Milwaukee Wisconsin

Has not submitted information or photos for who's who

Luke Weingarten, Chicago Illinois

Has not submitted information or photos for who's who

	GROUP 5 FACILITATOR Kelly Ludeking, Minneapolis Minnesota Website I Graduated with a BFA from Minneapolis College of Art & Design in 97'. I teach Sculpture at Luther College in the summer for the Dorian Music and Arts Camp. I have been traveling around to as many pours as possible. Some I teach at and some I just show up to learn more. I am a co-director of Foundry Education and Fine Arts (a traveling iron pour road show.) Also, Showing in a number of galleries around the Twin Cities.
	Wayne Potratz, Minneapolis Minnesota BS Art and Education Macalester College 1964. MA University of California, Berkeley 1966. Professor University of Minnesota since 1969. Potratz has an extensive record of international, national, and regional exhibitions, lectures, workshops, and conferences dating from 1964. Founder [along with Prof Thomas Gipe] of the International Conference on Contemporary Cast Iron Art.
	Katerina Sanerib, Milwaukee Wisconsin Has not submitted information or photos for who's who
	Felicia Glidden, Saint Paul Minnesota I started casting iron 5 years ago after spending 20 years studying modern dance and painting abstract expressionist paintings. I travel as much as i can to cast iron and the process is as intriging to me as the finished work. My latest work involves casting sculptures that appear in my dreams.
	Mira Rychner, Milwaukee Wisconsin
	Eric Stephenson, Chicago Illinois Website My objects explore the connections formed when spaces as diverse as a spun cocoon and a constructed vessel are juxtaposed. By using the body as a means of surveying space, and by contrasting the organic and the man-made, the work investigates the point of transition that occurs when these diverse conditions collide. Additionally, the artifacts represent a timeline - or singularly, a time piece - which reveals a strong connection to process. This is demonstrated by the materials chosen to visualize the work - bronze, ceramics, steel and cast iron - which are heavily dependent on process, and by the finishes, which emphasize the effects of aging and of time.
	Michael Bigger Mineapolis Minnesota Website My work is generally non-narrative. It is concerned with formalist issues such as form, space, proportion and materials. Other considerations are implied motion, balance, intersection and penetration of elements, and final finish. I work in all scales, but large scale is my favorite expression. I have worked with stone, wood, cast metal, steel, and aluminum. I prefer steel and aluminum due to the additive aspect of welding, which has its roots in my architectural training. I am a builder, not a story teller. The physicality of the sculpture is of primary importance; the narration is less important. I prefer to provide the viewer with an impression, rather than actual information. I think that sculpture should command the viewer's attention and stir his imagination. One of the many reasons that I enjoy being a sculptor is the process....It is dirty, noisy, sweaty, hard work. The process pits me against the material. I enjoy the physical confrontation, the manipulation of the form from an unyielding material, the joining of parts to produce a whole, and using the material in such a way that strength and weight are both real and denied. M .D. Bigger.
	Daniel Dricken Milwaukee Wisconsin Has not submitted information or photos for who's who
	Luke Weingarten, Chicago Illinois Has not submitted information or photos for who's who