{"id":1829,"date":"2026-03-31T16:27:14","date_gmt":"2026-03-31T19:27:14","guid":{"rendered":"https:\/\/archgallerydesign.art.br\/?p=1829"},"modified":"2026-03-31T16:46:41","modified_gmt":"2026-03-31T19:46:41","slug":"la-based-ceramicist-exhibits-in-six-u-s-galleries-with-porcelain-and-fiber-sculptures","status":"publish","type":"post","link":"https:\/\/archgallerydesign.art.br\/?p=1829","title":{"rendered":"LA-Based Ceramicist Exhibits in Six U.S. Galleries With Porcelain and Fiber Sculptures"},"content":{"rendered":"\n
Stacy Solodkin in her Los Angeles studio with two of her porcelain sculptures.<\/h6>\n\n\n\n

Artist discovered clay during the pandemic and, in four years, secured representation in New York, Chicago and California; Instagram was her primary channel for breaking into the market<\/h4>\n\n\n\n

LOS ANGELES | March 31, 2026 | Updated at 16:00 p.m<\/p>\n\n\n\n

Artist Stacy Solodkin spent decades as a painter before discovering ceramics during the isolation of the pandemic. In less than four years, she built representation across six galleries in the United States and entered the international contemporary art market.<\/p>\n\n\n\n

Representing her work are: BCMT, in Kingston, New York; SCAPE Gallery, in Corona del Mar, California; Tappan Collective, in Los Angeles; Onna House, with locations in East Hampton, New York, Palm Beach, Florida, and SoHo, Manhattan; LES Collection, in New York; and Gallery 1871, in Chicago.<\/p>\n\n\n\n

Originally from Louisville, Kentucky, the artist works with raw porcelain combined with cotton fiber, producing unique, entirely handmade pieces. Her work draws from the natural world \u2014 roots, water flows, organic reliefs and bark textures organize the visual logic of each piece.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Untitled floral cluster, porcelain and cotton linter fiber. Stacy Solodkin.<\/h6>\n\n\n\n

Technique<\/strong><\/h4>\n\n\n\n

Early in her ceramics journey, the combination of porcelain with cotton linter fiber became a defining element of her practice. She learned the technique from Rebecca Hutchinson, a teacher who introduced her to the method. Cotton linter is a byproduct of cotton processing, made up of short fibers that remain attached to the seed after ginning. When integrated into porcelain, the material alters the texture, lightness and behavior of the piece during drying and firing, enabling forms that would be structurally impossible with clay alone.<\/p>\n\n\n\n

After studying with Hutchinson, Solodkin traveled to Bali for a workshop with Australian ceramicist Juz Kitson at the Gaya Ceramics school and then to New York to work with Spanish artist Alberto Bustos, known for his organically shaped porcelain sculptures. Consistent across all three teachers was the same guiding principle: experiment fearlessly and think beyond established norms.<\/p>\n\n\n\n

Cracks and imperfections resulting from the process are incorporated into the final work as both formal and symbolic elements. Each piece, the artist says, is a download from the Earth.<\/p>\n\n\n\n

“The making is the art. The work is an artifact of the journey we took together,” Solodkin says. “Each piece carries our story while also offering space for your thoughts.”<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Solodkin at work in her studio, building a sculptural composition in porcelain.<\/h6>\n\n\n\n

Galleries<\/strong><\/h4>\n\n\n\n

Six galleries, each with a distinct profile, make up her representation network. BCMT Gallery, in Kingston, centers its program on what it calls an “artist-forward” approach, with an emphasis on high craft and creative processes. SCAPE Gallery, in Corona del Mar, also operates as an art consultancy and holds rotating exhibitions dedicated to emerging and mid-career artists.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Untitled, porcelain and cotton linter fiber, on pedestal. Stacy Solodkin.<\/h6>\n\n\n\n

Founded in 2012 by Chelsea Neman Nassib in Los Angeles, Tappan Collective began as a digital platform and e-commerce venture before expanding into editorial content, physical exhibitions, brand partnerships and artist residencies. Tappan accepts cryptocurrency and sells digital works as NFTs, with prices and inventory openly published \u2014 an uncommon practice in the traditional art market.<\/p>\n\n\n\n

Created in 2022 by designer and collector Lisa Perry in East Hampton, Onna House is dedicated exclusively to women artists. The name derives from the Japanese word onna<\/em>, meaning woman. In 2025, Perry opened Onna House SoHo in Manhattan. The gallery also maintains a space in Palm Beach.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Untitled, porcelain and cotton linter fiber. Stacy Solodkin.<\/h6>\n\n\n\n

Rounding out the roster, LES Collection, founded by Lauren Sands in New York, curates art and design objects for the home, with an emphasis on timeless pieces. Its Brooklyn showroom operates by appointment. Gallery 1871, in Chicago’s Lincoln Park neighborhood, represents more than 100 artists and holds six themed exhibitions per year.<\/p>\n\n\n\n

Career<\/strong><\/h4>\n\n\n\n

Growing up in Louisville, Solodkin was encouraged in the arts from an early age. She was offered a scholarship to the Art Institute of Chicago but turned it down. “At the time, I didn’t believe in myself enough to think of art as a career,” she said.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Solodkin holds a large-scale work in raw porcelain and cotton linter fiber.<\/h6>\n\n\n\n

A move to Los Angeles in the 1990s brought her to a studio space in Venice Beach, where she participated for several years in the Venice Art Walk, an event that opens neighborhood studios to the public. From there, she gained commercial representation and commissions for her paintings.<\/p>\n\n\n\n

Her formal education includes Eastern Kentucky University, where she studied art and earned a degree in psychology; the University of Louisville, where she received her Bachelor of Fine Arts; and Otis College of Art and Design in Los Angeles, where she deepened her work in drawing and encaustic. The shift to porcelain and fiber opened the doors of contemporary art galleries. “It couldn’t have happened before I had worked through my voice in painting,” she reflected.<\/p>\n\n\n\n

Instagram<\/strong><\/h4>\n\n\n\n

Perhaps the most remarkable aspect of her trajectory is the role social media played in her entry into the art world. In a market historically built on in-person relationships and the mediation of fairs and galleries, Solodkin built virtually her entire network through Instagram.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
Detail of Solodkin\u2019s process: applying slip with a brush to a porcelain coil sculpture.<\/h6>\n\n\n\n

“Every relationship with artists and with my collectors, and almost every relationship with my galleries, I can somehow trace back to the internet,” she said. Using the platform initially as a journal and record of her creative process, she gradually connected with a growing audience through the way she shared her work and reflections.<\/p>\n\n\n\n

\n\n\n\n
UPCOMING SHOWS<\/strong><\/h5>\n\n\n\n

Stacy Solodkin’s upcoming exhibitions:<\/p>\n\n\n\n