44 Joyce Lovelace Joyce portraits by portraits Irvin SerranoIrvin Roberto Lugo american craft craft american Drawing on experiences, experiences, story by for many. hisown speaks speaks apr/may 16

AGENT “It’s abouthowperhapswhat there’s aquotethatroberto vibrant ceramicartthattellshis we wanttosayfigureout Lugo lovesandrepeatsoften. extraordinary power,making explains. “Andwespendthe story, onethatbeganwithgrow - rest ofourlivestryingtosayit.” from ourchildhood,”theartist in atoughneighborhood of ing up PuertoRicanAmerican At 35,Lugoissayingitwith

Asian porcelainformsreimag- vessels aremulticulturalmash- well astimeless,universal Philadelphia. Indoingso, erty, inequality,race–as sensibility. Their handpainted ups, traditionalEuropeanand human themes. he illuminatesthelargerhot- ined witha21st-centurystreet in arecentone-manshow,Lugo’s button issuesoftoday–pov- Dubbed “Ghetto Garniture” Dubbed “GhettoGarniture” fof

H NGE CHA ornate luxuryitemhistorically very often,theartisthimself. He’s doneToby mugsdepicting and ErykahBadu,aswell Lugo’s familymembersand, surfaces featureclassicdecora- traits ofindividualsyoumight tive patternsandmotifscom- made fortherich–peoplelike not expecttofindonatypeof Sojourner Truth,CornelWest, urban graffiti,plusstrikingpor- bined withelementsofmodern All Kings(2015),paintedwith With theirbeauty,humanity, of humor,Lugo’s piecesinvite commemorative likenessesof color engagedinconversations with the face of rapper Ol’ Dirty Rodney King,TrayvonMartin, Bastard; anurntitledWeAre Eric Garner, and Michael Brown. Eric Garner,andMichaelBrown. tory; agenteelteapotgraced pop cultureappeal,andtouches police officersandpeopleof both contentiousandconcilia-

Teapot photo: KeneK Photography, courtesy of Wexler Gallery words,” hesays.“Weoftenget violent orretaliatingwithour world inawaythatpeopledon’t we dointhevisualartsmatter a survivor,andperhapsmost er, asculptor,provocateur, see coming – as opposed to being see coming–asopposedtobeing selves. “Ifeellikethethings to theheartofmatter.” most becausetheychallengethe us tolookdeepwithinour- importantly, an activist,”says “Roberto isapotter,paint- wild mash-ups,but vessels maylooklike own experience,”says sense intermsofmy Roberto Lugo’s Douglass; turnitaround, and you’llfindtherap- the artist.This2015tea- they “makecomplete per MethodMan. Frederick features pot american craft american apr/may 16 45 Visual Arts,whereheearned 46 change. It’s raw and honest and change. It’srawandhonest one ofhisprofessorsatPenn world hierarchies, and operates world hierarchies,andoperates as anempoweringagentof 2015, porcelain,glaze, stance, deftdefiance, anddeep left andright: china paint,luster, 8.5 x74.5in. and ErykahBadu, notions ofclass,race,andart- State University’sSchoolof Shannon Goff,hisfriendand 2015, porcelain,glaze, undeniably authentic.” his MFA.“Hisworkchallenges less blendofgritandcircum- Roberto Lugo 16.5 x147in. china paint,luster, and CelinaAyala, Roberto Lugo “His ceramicartisaseam- american craft craft american apr/may 16 own. “Onething Istriveforin content createsnarrativesthat of theartschool.“Theunlikely are atoncejarringandcaptivat - details, butit’spassionthat ences intoanaestheticallhis encounters withideasthatgive says GraemeSullivan,director pushes thestory.” fusion ofmaterial,form,and form tohislivedexperience,” ing, wherethedevilisin Lugo blendsdiverseinflu- “The things we things do “The a way that people don’t challenge the world in matter in the visualarts most because they see coming.” Oppression, 2013,stoneware,chinapaint,luster,15x369in. we reallyare.Hewatchedhis appearances canbedeceiving, that societycanstereotypeus terms ofmyownexperience.” or things thatwillsortofclash, beeclectic,”hesays.“To have to factory worker, andsometime father –aPentecostalpreacher, my work is being honest enough not makesensetootherpeople, in waysthatdon’treflectwho but thatmakecompletesensein Early on,helearnedthat

Teapot photos: KeneK Photography, courtesy of Wexler Gallery

Oppression photo: Roberto Lugo Teachers failedtosee,much left andright: child, andwasn’tagoodreader. can culture.Lugowasaquiet and devoutlyreligiousboy, 9 x7.255in. 14x10.57in. salsa, rap,andbaseball favored street vendor–workterribly 2015, porcelain,glaze, teen, helikedgrungerockand left andright: china paint,luster, margins ofmainstreamAmeri- had athickSpanishaccentas hard, yetstillstruggleonthe 2015, porcelain,glaze, ligence andartistictalent.Asa less cultivate,hisinnateintel- ice hockeyinadditiontothe china paint,luster, Graffiti Teapot2, Confederate and SojournerTruth, Ol’ DirtyBastard of itasanartform then,not or “tryingtobewhite,”ashe way tofitin,“beascool would insinuatehewasweird, get madefunofalot.”Whenhe defect thananaffect.Iwould started doinggraffiti,itwasa time itwasseenasmoreofa puts it.“Inhindsight,Irealize my cousins.”Heneverthought my creativity.However,atthe my eccentricitywasasignof by neighborhoodkids,who always paintoverhiscreations. a firehydrantthatevokedhap- experience, hemadepieceslike tory jobs,Lugobyage25had the streetwithhis fatheron py memoriesofshoweringin moved toFloridaandwasseek- nity college.Toldthat“real, least becausethecitywould honest” artcamefrompersonal in aceramicsclassatcommu- ing afreshstartwhenheenrolled After workingvariousfac- He begandevouringceramics at theKansasCityArtInstitute. first timeinmylifeIwasever says ofthoseearlyefforts,add- the bat,itfeltimportant.” told Iwasgoodatanything,”he prestigious ceramicsprogram nights whenthefamily’swater had beenturnedoff.“Itwasthe history aswell anthropology, ing thatartmakingimmediately became hiscalling:“Rightoff In 2009,heenrolledinthe american craft american apr/may 16 47 intrigued by how pots tell sto- and people of color were under- own situation, he created photographer Richard Ross ries about past cultures. In his- represented in the field, and that, Oppression, a work he considers invited him to collaborate on torical ceramics, he found through his work, “I had the one of his best. The heads of “Juvenile In Justice,” a show in connections to his own work, opportunity to speak on behalf two men of color – Lugo and Philadelphia about imprisoned such as how the lines of a leaf or of people where I come from.” his brother – sit in subjugation youth. Coming on the heels of flower on a Chinese pot looked That sense of mission inten- on a Victorian tea cart, essen- an artist residency he did in like graffiti arrows, and had the sified when he entered graduate tially serving as saucers for Hungary, the show marked a same quick, gestural quality as school in 2012, around the same dripping cups. (His brother was turning point in Lugo’s career. tagging. By drawing graffiti on time that his brother was, Lugo eventually granted early release, “I felt that I was empowered to his surfaces with china paint, says, unjustly convicted of a has rebuilt his life, and is “doing do anything, and that my voice he could put his own stamp on drug-related charge and sent really well,” Lugo says.) In 2013 was an important and needed ceramics history and discourse. to prison. Feeling sorrow and he explored the theme of incar- component to the ceramics He also realized that minorities anger, and even guilt for his ceration more directly, when community.”

Lugo has deep respect for the transformative power of making: “I feel blessed that some- one taught me how to make a pot and gave me the tools to be able to express myself.” 50 openness tootherperspectives We AreAllKings, work meanttostartconversa- vocative –andofteninformed He admits,forexample,that stereotypes, includinghisown. tions, notpushpeopleaway. 27 x10in.dia. 2015, porcelain,glaze, udice –hiscuriousnatureand he onceassumedwhitepeople lead him,intheend,tomake in theSouthwere allbasically china paint,luster, by hisownencounterswithprej- Though Lugo’sartispro- He wantstobreakdown american craft craft american apr/may 16 That confrontation inspired called acanineunittosniff who embracedhimwarmly. wife, Ashley,afellowartist, and haveatoddlerson.)His and herfamilyinruralAlabama, (The two were married in 2009 (The twoweremarriedin2009 drive throughGeorgia,Lugo says, whenanofficerpulled the potshehadloadedinback. racist –thatis,untilhemethis new outlookwastestedona him over,questionedhim,then Confederate GraffitiTeapot2 of FrederickDouglass,the I wouldlovetoliterallyhave with the officer over cups of tea, with theofficerovercupsoftea, Confederate flagtiedintoa an understanding.“Thepiece Notorious B.I.G.,andthe (2015), avesselbearingimages gangster-style bandanna.Lugo tea withhim.” talking thingsover,comingto 10.25 in.dia. ceramic decal, porcelain, glaze, is conceptual,inaway.But imagined himselfsittingdown Portrait Plate: 10.25 in.dia. ceramic decal, Method Man,2015, porcelain, glaze, Portrait Plate: Maya Angelou,2015, 2015 conferenceoftheNational ceramics professoratMarlboro crowd withadeeplypersonal College inVermont.Asan Ceramic Arts,heelectrifiedthe Council onEducationforthe Penn Statein2014,Lugo’spro- Emerging Artistlectureratthe finishing uphisfirstyearasa file continuestoriseandhis speech thatwas partrappoem message toresonate.He’snow Since hisgraduationfrom

Photos: KeneK Photography, courtesy of Wexler Gallery It’s especiallyimportantto with their work because, as he with theirworkbecause,ashe who mayfeelalone,topushon watched online,thankinghim and sharingsimilarexperiences. and partsermon.Hehassince Lugo thathisworkservesto encourage young artists of color, encourage youngartistsofcolor, says, “the things we do matter.” “thethingswedomatter.” says, 10.25 in.dia. ceramic decal, received morethan100emails from peoplewhowerethereor porcelain, glaze, has aprofound educational role Portrait Plate: 10.25 in.dia. ceramic decal, 2015, Ghostface Killah,2015, porcelain, glaze, Portrait Plate: O.D.B., 2015, And ceramics,hebelieves, “When I started Istarted “When I’d count down I couldn’t thinkabout anything elseanything ... to go to back class.” the hours until Igot classes, taking art ‘So what’syourfavoritething ‘Are youachef,docook?’ Wu TangClan, American, Vase III: when henoticedaboywho He waslike,‘Yeah,Icook.’ a workshoptomiddleschoolers, 21 x12in.dia. says, ‘Oh,Ihaven’t madea to play.Recentlyhewasbackin to make?’Andhenonchalantly china paint,luster, reminded himofhimself. glaze, 27 x12in.dia. 2015, porcelain, glaze, his oldneighborhood,teaching ing alittlechef.Iaskedhim, in thecornerbyhimself,sculpt - Raekwon and china paint, Masta Killa,2015, porcelain, Century luster, “He wassortofachubbykid, come up with? What would his come upwith?Whatwouldhis about thingslikethat.” able tocraftanythingyoucould signature dishyet,’”Lugo signature potlooklike?Ithink sweetest thing!Butthepoten- think of. What ideas would he think of.Whatideaswouldhe to giveexposurepottery,the tial toworkwithkidslikehim– plasticity of clay, the ability to be plasticity ofclay,theabilitytobe robertolugostudio.com recalls with a laugh. “It was the recalls withalaugh.“Itwasthe american craft american apr/may 16 51