Chloe Marie Theodosiou
Artist, ceramicist, counselor, thespian
Chloe is an Alfred University alum with experience in pottery, ceramics, painting, and printing.
Recently graduated from Alfred University, I have found how much I depend on the society of ceramicists and the chain of personal connections the art community provides. I have worked as an artist assistant, a counselor, art director, costumer, tour guide, figure model, and an art history tutor. My main interest is to stay in the art community as I promote my own art practice. Through interpersonal sharing of experiences, advice, and opportunity, I have grown as an artist and an art citizen. I value growth and learning through giving back.
Since graduation, I have been working closely with studios and artists in and around my hometown to develop, clean, work, and teach. It is important to me to keep art as an accessible and common practice for people as an outlet (both first hand and fiscally) as well as an educational opportunity. I have worked with students younger and older and am capable of applying complex art concepts to a less exposed audience.
I am personable and like to consider myself an extroverted entertainer who enjoys talking to people about their passions.
My enthusiasm for kilns, material studies, and form has amplified since getting my hands on new ways of working and different problem solving strategies. I accept any challenge. I am excited to cultivate and give back to a community I know and believe in.
Think about biting into cake.
Visual experience becomes primeval and abstract, drawing upon elements of guilty pleasure. I am both attracted and repulsed by Marie Antoinette – by her being spoiled, rich, and lazy. When she died, her last words were an apology to her executioner; so although she was surrounded by guilt and pleasure, she still maintained her humanity. I identify with her in a way.
Each of my forms pushes back against over-simplification of emotions. The method in which I fire and refire, add elements, and manipulate glaze and color, creates a saturated excess. I invite conversations about being spoiled and greedy and overdone and grotesque and excessive. It creates a visual and visceral paradox for the audience, much like a poisonous frog: simultaneously drawing them in with color and sheen to examine and touch, while the forms seem to snake, slither, and decay. My sculptures offer contradictions, like those in a deteriorated relationship, a selfish child, a moldy cake, or over-kneaded, thick, white fondant.
My work reflects an indulgence and overload of beauty. They challenge the conventional symbolism imposed on flowers as professions of love (and only the good parts of love). They acknowledge that love is complicated, and ephemeral. They are missions to find my visual happiness. From a more superficial standpoint, the forms are an outlet through which the glazing process takes shape and elevates, cashing in on the frivolity that flowers themselves have. They are cyclical: relating to and then opposing themselves, asking for a moment of reflective vulnerability from their audience.