TIP TOLAND
INTRODUCTION
-
Tip Toland is a Ceramic Artist.
- A hyper-realistic sculptor.
- Born in America Pottstown in 1950.
ABOUT HER
BACKGROUND :
Tip was born in an American family having 2 sisters and a younger brother, she never got the attention she wanted, her mom and dad knew at a very early age that she is very talented and put her up with pastel classes.While studying in high school she also attended art school and she was very interested in the line quality.
At the age of 14 her mother sent her to the boarding school. She knew her mother don't want her. Her mother had a very bossy nature and she make decisions for the family and no one is allowed to say a word , she confronted her, denied her decisions. Boarding was a thrust of independence for her, she decided who she wants to be. She said "Goodbye Debbie(her real name),I'm gonna be Tippy or Tip and that's the new me. "
Tip has a very different ideas and she thinks and act very differently toward things people call her psychoses got eating disorders, she did know what was actually emotionally going on; she just wants to get over it. after completing boarding, she went to Washington DC, in 1969 when the war was going on, She was really interested in protesting for war she thinks it was as important as going to art school. She even got involved in drugs, as all of that was very new to her. She was even admitted to a mental hospital for 6 weeks.
HER EDUCATION
- 1975 B.F.A.,
Ceramics, University of
Colorado, Boulder,
CO
- 1981 M.F.A., Ceramics, Montana State University,
- Bozeman, MT
- In the University of Colorado she started as a fine arts major in 1970, started ceramics just for kicks.in graduate school she entered with a terracotta plate with underglaze painting. then was asked to do some dimensional work in clay. She studied human anatomy from
Gage Academy.
She earned her BFA in Ceramics at the University of Colorado and later received an MFA in Ceramics from Montana State University. Her previous accolades include a Visual Arts Fellowship from the National Endowment for the Arts, Artist-in-Residences in Wyoming, Oregon, Montana, and Washington, an Artist Trust GAP grant, and the Virginia A. Groot Foundation Grant among others. She is a full-time studio artist and a part-time instructor in the Seattle area. In addition, she conducts workshops across the United States. Her work has been shown in numerous galleries, including Nancy Margolis in New York City and Pacini-Lubel in Seattle. Her work is represented in both private and public collections, including the Renwick Gallery of the Smithsonian, Kohler Art Center, and a promised gift to the Metropolitan Museum of Art.
HER PERSPECTIVE
I have always pursued my career, even though I say that I wanted to be happy, I have always been making some kind of art. It hasn’t always been clay, but there’s always been an aspect of clay that’s been in the work. Ever since graduate school that’s been on the back burner; my interest in furthering my career. When I got to Seattle, I wanted to get affiliated with the gallery and I knew that if you wanted to get affiliated with the gallery I had to make the work. William Trever was interested and said “come back to me in six months and show me what you have.” Then I was in a little Jackson Street Gallery and all these things were good, they were a little stepping stones. Finally, Bill Trever said “we want to give you a one-woman show, sign here & here.” Once you start down that path and you know you want a gallery to represent you then you have to make the work so that you can have new things to show the galleries. Once you’ve signed up with a gallery then you have shows and then they want to have new work. You have a contract and you are committed. It’s been like that ever since for me. For some reason I keep signing up for these shows and I have to do the work! Sometimes, I’m like ‘wait a minute, will I ever get a break?’ but that’s how it goes. It’s just like that. Once you put the whole engine in motion, it has a life of its own.
ART WORKThe hyper realism of Toland’s figures comes from her attention to detail and unique use of materials. Using an encaustic technique, Toland creates a waxy finish for the skin that mimics real flesh. She even goes so far as to incorporate actual human hair into the works. The porcelain eyes create a doll-like realism that is both haunting and entrancing, while carefully defined wrinkles, skin tone, tooth enamel, and bone structure, are remarkably realistic.MATERIAL's which she used in her sculpture:
· terracotta clay· stoneware clay· chalk pastels· synthetic hair· porcelain· paint· stains· gold leaf
And Now Her OwnStoneware clay, Paint, Chalk pastel, Paint, Synthetic Hair13” H x 17” W x 9 “ D
The
Moment I Disappeared
clay,
paint, chalk pastel
6"
H x 32" W x 16" D
Ancestor
porcelain, paint, mixed media
3 1/2" H x 18" W x 8" D
Cloud
clay,
paint, chalk pastel
7"
H x 31" W x 11" D
Her work bring viewer into extreme
sensitivity of the characters, so you help yourself, pulled into the world of
what they are doing and how they feel. A very honest look her sculptures make
people mind comfortable and edgy at the same time. She never get out to make
edgy work. her sculptures like tantrum, refugee are pointy and sad,
children with Albinism pieces are so reflective. What is human to be ?
vulnerability probably at sometimes. She allows us to encounter us with these
very human like characters almost a kind of interaction you could have been
with any human being with specific story. Thoughtful, troubled human condition.
Tip statement
" Don't
pretty it up just say it like it is so I know that it lives in me "
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