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JOYCE UTTING SCHUTTER

JOYCE UTTING SCHUTTER - Call for the Circle Dance

           JOYCE UTTING SCHUTTER

       Call for the Circle Dance       Mixed Materials             




JOYCE UTTING SCHUTTER - Gastropodous Sarracenia

           JOYCE UTTING SCHUTTER

       Gastropodous Sarracenia       Mixed Materials             




JOYCE UTTING SCHUTTER - Cotyledonary

           JOYCE UTTING SCHUTTER

       Cotyledonary       Mixed Materials             




JOYCE UTTING SCHUTTER - Measuring Heaven

           JOYCE UTTING SCHUTTER

       Measuring Heaven       Mixed Materials             




JOYCE UTTING SCHUTTER - A Cut Beneath

           JOYCE UTTING SCHUTTER

       A Cut Beneath       Mixed Materials       7      




JOYCE UTTING SCHUTTER - Flesh & Bone

           JOYCE UTTING SCHUTTER

       Flesh & Bone       Mixed Materials       6      




JOYCE UTTING SCHUTTER - The Healing of Old Wounds

           JOYCE UTTING SCHUTTER

       The Healing of Old Wounds       Mixed Materials             




JOYCE UTTING SCHUTTER - Sisters:  The History Bridges

           JOYCE UTTING SCHUTTER

       Sisters: The History Bridges       Mixed Materials             




JOYCE UTTING SCHUTTER - The Lure of Shade

           JOYCE UTTING SCHUTTER

       The Lure of Shade       Mixed Materials             




JOYCE UTTING SCHUTTER - Equius Hexifloria I - Spring and Equius Hexifloria II - Late Autumn

           JOYCE UTTING SCHUTTER

       Equius Hexifloria I - Spring and Equius Hexifloria II - Late Autumn       Mixed Materials             




JOYCE UTTING SCHUTTER - An Insignificant Loss No. 2

           JOYCE UTTING SCHUTTER

       An Insignificant Loss No. 2       Each Sculpture is welded with a thin skeleton of carbon steel and numerous layers of hand-stitched substrate and a various treatments to provide the overall structure and design. Please feel free to read more below or ask us for more information.             




Joyce is a native New Englander, born in Boston and raised in Guilford, Connecticut. she spent two decades in the Midwest, working as an artist, teaching, and raising a family. Joyce studied papermaking under Timothy Barrett at the University of Iowa, where she had earned an MFA in Sculpture (’97.) Joyce taught drawing, sculpture, painting, ceramics and graphic design at Iowa Central Community College. Her sculpture experience ranges from cast iron, bronze, and clay to welded steel, fiber, and paper. Boston’s Society of Arts & Crafts, and a 2011 Niche Award from the Buyer’s Market of American Craft. Joyce is becoming increasingly aware of the interconnectedness of all things: bird and wind, eye and shadow, breath and bone. Existence – the whole of it – is one breathing entity: no evaluation, no judgment, no independent opposites, simply a rhythm of complements. Everything in nature, in the universe, is part of the rhythm. Every breath is life giving. Fleetingly, steadily, each breath gives way to the next. Each sculpture Joyce does make is incarnation of a breath, not the whole life, but containing enough interplay of elements to convey some of the essence of the whole. Often when creating a piece, Joyce does attempt to capture some of what she does see as the visual music of the world around me, synthesizing a harmony of natural and human design. Although each component is carefully chosen with symbolic references, it is not her intention that those who view her work would focus on dissecting and analyzing it. Each piece is created with careful attention to the whole, not a puzzle to be solved or a message to be deciphered, but a breath to be inhaled. Joyce’s unique method of sculpting with sprayed paper pulp is described in Volume 13, No.2 of HAND PAPERMAKING and in THE PAPERMAKER’S COMPANION (©2000 by Helen Heibert). Several of her pieces are pictured in the Lark book 500 PAPER OBJECTS due out in (June 2013). She received a SAC Award from the Society of Arts & Crafts in 2006, and a 2011 Niche Award from the Buyers Market of American Craft. Her work has been exhibited nationally I begin each sculpture by welding a thin skeleton of carbon steel. I overlay this with a hand-stitched fiber substrate. Numerous layers of sprayed or hand applied paper pulp, often interspersed with organic materials, imbue each piece with a life of its own. The fascinating chemistry of paper forges the elements together without the use of foreign chemicals or glue. When I want to use color on one of my pieces, I apply pure powdered pigments with a dry brush, or use watercolor or encaustic.