My ceramic works take the form of sculptural vessels and wall pieces.  I often see the sculpture in my mind first, and then discover its meaning.  In making the piece, I set up a series of visual rules for the work’s construction.  It is important to me that the process of making the work has a relationship to its meaning. 

I have been thinking about what it is to grow, which is to say, what it is to become imperfect.  A life, an idea, a construction are all born with the perfection of their plan, but the plan is untested.  As things live in the world, they are nurtured and buffeted by forces beyond their control.  I believe that the struggles and bends in the plan that occur as a result of these forces ultimately make a life and a work of art more beautiful and more layered in meaning.  The imperfect becomes more significant than the perfect.

The idea of multiplicity is also important in my work.  I make ceramic objects in series and present them that way.  I am drawn to the resonance created by a group of pieces that were begun with the same design, but grew to be distinct in their creation.

I made the elements of Chorus over a long period of time.  Each bead was made by hand, using the same process, but each came out looking slightly different.  Each section was made the same way, but was, in the end, distinct from the others when complete.  The singularity of my technique and the variation that evolved created a “chorus” of my first intention.

I work in porcelain because of its sensuous, tactile qualities.  Part of my process is to place stresses on the clay and force it to respond and change.  The whiteness of porcelain gives me the ability to paint on a clean canvas.  Some of my pieces remain unglazed or uncolored so that the clay’s texture is most visible.  When I do use color, I take advantage of the fact that clay absorbs color differently as it dries and is fired, and I layer my colors and glazes throughout the process.

I believe that the particular qualities of dimension, curve, texture and color in a work of art are ultimately what compel a person toward intimacy, to welcoming the art into their life.  I believe the experience of art gives us a moment of sanctuary, a moment that touches our emotions and our intellect.  It lifts us from the mundane and awakens us.  

Selected Exhibitions

Line and Volume:  Ceramics by Mindy Horn & Ann Mallory, Mattatuck Museum, Waterbury, CT, 2016-17

A Vessel By Any Other Name,  Gallery 66, Cold Spring, NY, 2015

Women in Art, NEST Arts Factory, Jane Davila, Curator, Bridgeport, CT, 2015

Small Works, Handwright Gallery, New Canaan, CT, 2015, 2016

Art of Transformation: Mindy Horn & Deborah Weiss, Pierce Ball Gallery, Stamford, CT, 2014

Juried Members Show, Ridgefield Guild of Artists, Jacquie Littlejohn, Curator, Ridgefield, CT, 2014

36th Juried Exhibition, Ridgefield Guild of Artists, Laura Einstein, Curator, Ridgefield, CT, 2013

A Baker’s Dozen:  The Versatile World of Clay, Iona College Gallery, New Rochelle, NY, 2013

The Women, Ridgefield Guild of Artists, Nancy Moore, Curator, Ridgefield, CT, 2013

Elements, Katonah Museum Artists’Association, Katonah, NY, 2013

Collective Vision, Silvermine Guild Art Center, New Canaan, CT, 2012

Clay Talk:  The White Show, Ambergris Gallery, Block Island, RI, 2012

Clay Talk:  Holiday Show and Sale, New Canaan, CT, December 2011, 2013, 2015

Spectrum, The Carriage Barn, New Canaan Society for the Arts, New Canaan, CT, 2011

Art of the Northeast, Silvermine Guild Art Center, New Canaan, CT, 2011

Bowls As Art, Honorable Mention, Guilford Art Center, Guilford, CT, 2011

New Members' Show, Silvermine Guild Art Center, New Canaan, CT, 2011

Art Conservation

Mindy Horn Conservation, Weston, CT

Senior Paper Conservator, The New York Public Library, NYC

Paper Conservation Intern, The Metropolitan Museum of Art, NYC

Paper Conservation Intern, National Gallery of Art, Washington, D.C.

Mindy Horn has worked as a ceramic artist and as a paper conservator in Connecticut and New York.  Her ceramics are in public and private collections.  Her work in art conservation and ceramics continue to inform one another as two white materials that are malleable, responsive to touch and vividly record all of the things that happen to them.