George Mason

The Good Supply Midcoast Artisan Store Relief Tapestry in Soft Peach Study in Shape by Artist George Mason Made in Maine USA

Relief Tapestry in Pink

$420.00
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{"id":4656588095575,"title":"Relief Tapestry in Pink","handle":"pink","description":"\u003cp\u003eThere's a spaciousness about George Mason's work or a suspension of time that brings us into the present. It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA magenta plum rose color complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 14\" x 15.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e","published_at":"2020-11-13T17:27:24-05:00","created_at":"2020-11-11T13:53:30-05:00","vendor":"George Mason","type":"Fine Art","tags":[],"price":42000,"price_min":42000,"price_max":42000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":32416535969879,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"GMSPPK","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Relief Tapestry in Pink","public_title":null,"options":["Default Title"],"price":42000,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":"shopify","inventory_policy":"deny","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Square.jpg?v=1605306410","\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Feature.jpg?v=1605306415","\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Detail-1.jpg?v=1605306422"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Square.jpg?v=1605306410","options":["Title"],"media":[{"alt":"The Good Supply Midcoast Artisan Store Relief Tapestry Pink by Artist George Mason Made in Maine USA","id":6933098889303,"position":1,"preview_image":{"aspect_ratio":1.0,"height":500,"width":500,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Square.jpg?v=1605306317"},"aspect_ratio":1.0,"height":500,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Square.jpg?v=1605306317","width":500},{"alt":"The Good Supply Midcoast Artisan Store Relief Tapestry Pink by Artist George Mason Made in Maine USA","id":6933099085911,"position":2,"preview_image":{"aspect_ratio":1.5,"height":400,"width":600,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Feature.jpg?v=1605306323"},"aspect_ratio":1.5,"height":400,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Feature.jpg?v=1605306323","width":600},{"alt":"The Good Supply Midcoast Artisan Store Relief Tapestry Pink by Artist George Mason Made in Maine USA","id":6933099216983,"position":3,"preview_image":{"aspect_ratio":1.533,"height":400,"width":613,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Detail-1.jpg?v=1605306330"},"aspect_ratio":1.533,"height":400,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0203\/9306\/products\/The-Good-Supply-Midcoast-Artisan-Store-Relief-Tapestry-Pink-by-Artist-George-Mason-Made-in-Maine-USA-Detail-1.jpg?v=1605306330","width":613}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eThere's a spaciousness about George Mason's work or a suspension of time that brings us into the present. It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA magenta plum rose color complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 14\" x 15.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e"}

Study in Shape

$420.00
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{"id":4656587702359,"title":"Study in Shape","handle":"study-in-shape","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThere's a spaciousness about George Mason's work or a suspension of time that brings us into the present. It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA light peach color complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 16.5\" x 13.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e","published_at":"2021-02-01T12:07:57-05:00","created_at":"2020-11-11T13:52:21-05:00","vendor":"George Mason","type":"Fine Art","tags":[],"price":42000,"price_min":42000,"price_max":42000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":32416535445591,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"GMSPSS","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Study in Shape","public_title":null,"options":["Default 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It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA light peach color complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 16.5\" x 13.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e"}

Relief Tapestry in Orange

$420.00
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{"id":4656587374679,"title":"Relief Tapestry in Orange","handle":"orange-panel","description":"\u003cp\u003eThere's a spaciousness about George Mason's work or a suspension of time that brings us into the present. It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA vibrant orange with hints of yellow complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 10.5\" x 15.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. 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It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here. \u003c\/p\u003e\n\u003cp\u003eA vibrant orange with hints of yellow complimented by obscure shapes in relief make one think of ancient languages, mysterious keys, and wondrous biology. Those are our impressions, but the beauty of this work is to have your mind wander with intuition of its own.\u003c\/p\u003e\n\u003cp\u003eDesigned to hang .25\" away from the wall, the piece also creates an interesting shadow calling on dimension. The space allows wind and air to flow around the artwork, moving it subtlely and beckoning the eye.\u003c\/p\u003e\n\u003cp\u003e- Measures: 10.5\" x 15.5\"\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. Boulder, and Haystack.\u003c\/p\u003e\n\u003cp\u003eHe has shown at the Portland Museum of Art and the Center for Maine Contemporary Art and has had solo shows at the Farnsworth Art Museum and the Bowdoin College Museum of Art. Mason also completed 30 plus Percent For Art architectural ceramic projects for schools in Maine and New York City between 1986 and 2003 including a commission for The Federal Reserve Bank in Atlanta, Georgia.\u003c\/p\u003e\n\u003cp\u003eFrom the Artist:\u003c\/p\u003e\n\u003cp\u003eI am asking whether the visual inquiry can be a relational vehicle that builds community and honors place. I am noting that putting work in unlikely places affords the audience opportunities for an utterly fresh response. I am seeing that light and shadow, color, and texture can nourish without telling a story. I am suspecting the object may not be the \"art.\"\u003c\/p\u003e\n\u003cp\u003eI create conditions\/experiments that I then follow with great curiosity. This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e"}

Pageant

$5,000.00

Pageant

$5,000.00
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It's no wonder many people who visit our barn consider his work for mediation spaces - there's something of peace to be found here.\u003c\/p\u003e\n\u003cp\u003eThis large scale work is comprised of 30 narrow textured panels of various colors, which have been secured to a french cleat. The cleat secures the pieces 1.25\" away from the wall to create a sense of dimension and to allow the narrow panels to move with wind. A subtle undulation can be experienced when air moves around the piece after traveling through an open doorway or window or when it a fan is present.\u003c\/p\u003e\n\u003cp\u003eEnriched colors in golden ochre, sunflower, burgundy, red, and plum share space with a hint of green on the left and a small semicircle revealing a soft blue. The points of color interest are held by relief textures of many patterns. Woven grids appear in places from the burlap base while some panels boast crackle effects that remind of clay practices and appear in encaustic work.\u003c\/p\u003e\n\u003cp\u003eIn other places, obscure shapes suggest ancient languages or point to something fluid yet shapely. Those are our impressions, but the beauty of this work is to have your mind wander at the mystery with intuition of its own.\u003c\/p\u003e\n\u003cp\u003e- Measures: 39\" x 9'\u003cbr\u003e- Hydrocal plaster, casein paint, encaustic, burlap\u003cbr\u003e- Includes two brass cotter pins for installation\u003c\/p\u003e\n\u003cp\u003eGeorge Mason has a background in ceramic architectural tile, and his work is steeped in the exploration of materials and history. Richly-textured and saturated with color, the largest of his “relief tapestries” are pieced together panels that occupy entire walls.\u003c\/p\u003e\n\u003cp\u003eMason began to combine encaustics with layered paper cut outs while teaching in Jerusalem, Indonesia, and India. Eventually, these works led to a multifaceted question that challenged the artist to synthesize several divergent interests. He asked, “Is it possible to create large dimensional works, outside the frame, highly textural, referencing textile, ceramic, and cut out traditions, that hang with authority yet surrender to gravity with grace?\"\u003c\/p\u003e\n\u003cp\u003eHe is currently finding out while living on the coast of Maine with his family. A recipient of three National Endowment for the Arts awards and a founder of Watershed Center for Ceramic Arts, Mason has taught at Cranbrook Academy of Art, the College of Ceramics at Alfred University, Ohio State, U.C. 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This appears to involve \"listening,\" and following the thread of what is observed. The materials I experiment with include plaster, clay, burlap, pigment, casein paint, and encaustic. Light, shadow, texture and relief, and the primacy of gravity continue to capture my attention.\u003c\/p\u003e"}

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