Andrew Hoeppner

Andrew Hoeppner

Andrew Hoeppner is a local Seattle based artist. Originally born in California, Andrew received his BFA from Sierra Nevada College in 2011. He then pursued post-baccalaureate studies at the University of Montana. During this time he completed an internship with the ceramics department, an international residency at Medalta in Alberta, Canada, and received the Montana Museum of Art and Culture purchase award. In 2014 Andrew graduated with his Masters in Fine Art in Sculpture from Seattle’s University of Washington 3D4M program. There he received the Mary Kay McCaw Arts Fellowship and was nominated for the Teaching With Excellence Award. Post graduation Andrew pursued an international residency in Vallauris, France with a travel grant from Pottery Northwest. Most recently Andrew completed a two-year term residency with Pottery Northwest. During his time at Pottery, Northwest Andrew received a 2016 Fellowship award and a 2015 Project Grant (GAP) Award from Artist Trust. 

Statement

My approach to making art is one that continuously evolves and redefines itself. The work is cyclical in nature as it is a direct reflection of my interests and experiences. Making, play, impulse, humor, and the constant battle of success and failure are the threads that connect each body of work. I use ceramics to explore the physicality of my relationship to the world, as an offering of myself, and how I co-exist daily. 

I am fascinated by Gauguin’s notion of fleeting society to find meaning in a “savage” and “primitive” lifestyle. This act of separating oneself from civilization in search of a “true” vision reflects our modern desire to escape our unavoidable banalities in search of something timeless, and tangible. My work often reflects these desires to investigate artistic identity, place, and conventions. Yet it remains sculptural in the classic and most noble sense: an object, an image, a thing that illustrates the ever-shifting actions of the world around it, and its creator. 

The idea of craftwork and the pleasure of physical making are nearly radical now, as we shift deeper into the age of technology. I believe it is our longing for direct experiences which drives artisans to continue critiquing the importance of long prevailing polarities such as tradition versus modernity, art versus design, and craft versus high art. It is within my disciplinary practice where I continue to analyze the ceramic process and the borders in which its medium is defined.

Biljana Kroll

Biljana Kroll

Zoë C Johnson

Zoë C Johnson