Chris Vivas

Background

About Chris Vivas

My work has been described as precarious, which I welcome. Being influenced by existential writers such as Nietzsche, Sartre, and Camus, I have been intrigued with the duality of strength and fragility found within human existence. Exploring how strength synthesizes to weakness and vice versa has led me to working in ceramic for several years. Ceramics, being strong enough to used for space shuttles and yet delicate enough to shatter when dropped, functions as a perfect metaphor for the human condition. The human race is capable of such outstanding achievements, as the atomic bomb, but at the same time can mark our destruction. First exploring this concept I studied at Stony Brook University, where I received support under professor Toby Buonagurio. Professor Buonagurio directed me to further my studies in Japan after I graduated in 2003. I attended The Shigaraki Ceramic Cultural Park in Shigaraki, Japan from 2004 to 2005. Following my residency in Japan I returned to New York. I worked at Dowling College as the assistant technician and as the Artist in Residence at Stony Brook University’s Craft Center. I began wood firing with Susan Beecher in this time, too. In 2006 I entered graduate school at SUNY New Paltz to further my investigations of studying medium, aesthetics, and concept. While at at SUNY New Paltz I concentrated on furthering the development and expansion of my work, while pursuing various outlets. To list a few; I focused on and spearheaded eleven anagama firings, was co-president of our program's Clay Club (organizing sales, etc), was a co-founder and presdient of SUNY New Paltz's Graduate Student Association, worked as an assistant to wood fire artist, Tim Rowan and acted as art liaison to visiting artist, Akiyama Yo. I traveled to Japan and personally invited Akiyama Sensei to lecture at SUNY New Paltz. Traveling at this time also led me to visit ceramic artists throughout Japan, Europe, and Asia.