A Pioneer in Metal Furniture Gets a New Exhibition
In 2014, when the artist Dan McCarthy moved from Brooklyn into a converted schoolhouse in upstate New York, he decided the grand hall would be a future gathering spot for his many Facepots: large, wonky vessels decorated with a spectrum of grins and grimaces. The earliest ones, about a decade old, recall a time of emotional swings. “I hadn’t even found the clay that worked,” McCarthy says of that experimental phase, “so a lot of the pots were breaking in the kiln.” He learned to relinquish control, repairing the salvageable works using the Japanese technique known as kintsugi, in which mended seams are accented in silver or gold. The Facepots brought a new openness to McCarthy’s practice, as did the Hudson Valley. Absent the city’s pressures, he explains, “I was like a kid — on my hands and knees, lost in making a thing.” “Freedom,”a new monograph of McCarthy’s work, charts that arc, with nods to his Southern California upbringing, seen in rainbow-colored paintings of surfers and songbirds perched on guitars. Birds also animate new ceramic works in his solo exhibition at the Tokyo gallery Kosaku Kanechika, on view through Nov. 16. For McCarthy, these first faceless pots offer a shift in narrative. “Instead of a vessel, maybe it’s a nest,” he says, describing a fascination with his neighborhood birds. Kintsugi-like detailing appears on these pieces, too: Silver-leafed slabs camouflage the occasional split, while shiny rectangles evoke the little mirrors tucked inside birdcages. For the artist, fresh off his first flight to Japan, it’s a time of possibility. “I’m 62, which is old and not,” McCarthy says. “I think I’ve got another act in me. It should be an adventure.”