Toronto
Gardiner Museum
The work of Greg Payce may be framed within and by the medium of ceramics, but unlike, say, the work of a ceramic sculptor like Peter Voulkos, Payce’s aesthetic has less to do with a focus on the merits of the medium itself and virtually everything to do with exploring the inversion of the figure-ground relationship. This recent retrospective may have been mounted on the basis of Payce’s impressive clay credentials, but the medium was in no way the primary message. At first glance, Payce’s ceramics appear fairly conventional: wheel-thrown vessels ranging from small, hand-held objects to large, floor-based works. But the figures shaped by these artifacts aren’t of primary significance; instead, the space between them becomes of consequence, for Payce is committed to giving voice to the negative.…see the entire review in the print version of March’s Sculpture magazine.
