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Joy Brown installing work for her show at the Tremaine Art Gallery at Hotchkiss.
Natalia Zukerman
Co-curated by Christine Owen, Hotchkiss ceramics instructor, and Joan Baldwin, curator of special collections, the scale and scope of the exhibition was inspired by a recent Ed Ruscha retrospective in Los Angeles. “I thought it would be incredible to showcase all these different aspects of Joy’s work,” said Owen, who has known Brown for over 30 years.
Brown’s father, a Presbyterian missionary and medical doctor, opened a hospital in Japan where Brown grew up and cultivated her love of clay. Her first apprenticeship was in Tomba, a region in Hyogo Prefecture known for its ancient pottery kilns and Tambayaki pottery. “There are thousands of years of continuous history of clay there and I was working with a 13th generation potter.” Brown recalled that as part of her early training, her teacher handed her a sake cup and said, “make these.” With no extra instruction given, Brown proceeded to make thousands of copies of the cup. Never fired, she realized that the pieces were an exercise. She explained, “You’re not really making something, you’re participating in a process that these things emerge from.” From there, she embarked on an apprenticeship with master potter Shigeyoshi Morioka. As part of the process she learned from Morioka, Brown has built a 30-foot-long wood-firing tunnel kiln on her property in Kent, Connecticut, where she fires her work once a year in an intensive month-long process. The fire’s natural interaction with the clay creates unique earth tones and ash patterns, highlighting the raw beauty of the material.
Natalia Zukerman
“I learned not just pottery but a whole way of life,” she recalled. “The work is a continuous process—like practicing a signature until it evolves into something uniquely yours.” Her figures, initially emerging as playful puppets, have since evolved into large-scale sculptures now found in public spaces from Shanghai to Broadway to Hotchkiss’s own campus.
Brown’s seven-foot “Sitter with Head in Hands” was installed near Ford Food Court in October, followed by “Recliner with Head in Hands” near Hotchkiss’s Main Building in November. She welcomes interaction with her sculptures, encouraging visitors to touch them and even dress them with scarves or hats. “These figures transcend gender, age, and culture,” Brown noted. “They’re kind of like when you’re 4 years old and you didn’t know or care what you were, you know? All of us meet in that field and I think people resonate with that.”
In conjunction with the exhibition, Hotchkiss will host a screening of “The Art of Joy Brown,” a documentary by Eduardo Montes-Bradley, followed by a panel discussion with the artist and filmmaker on March 6 in Walker Auditorium. Brown will also serve as an artist-in-residence, collaborating with students on special projects.
On being part of the celebration of women at Hotchkiss Brown said, “Fifty years ago, I was deep in the mountains of Japan, immersed in clay.” With a soft spoken and almost childlike quality, Brown spoke about and interacted with her pieces with curiosity, reverence and wonder.
“The practice of working with clay for all these years is grounding and centering for me. It challenges me,” she said. “The work forces me to put myself out there. It’s not just the making of the pieces that make me more whole, the pieces themselves become more present.”
Brown reflected on the retrospective nature of the show and shared that putting it together has been like looking at a family album. “It’s kind of like I’m seeing my whole life in front of me,” she said. “It’s humbling and makes me think about why I do what I do. It comes back to the idea of those thousands of sake cups, you know? We’re just here, being as present as we can be. We’re not making things, we’re participating in a process of being more present, and all that spirit is reflected in the work.”
“The Art of Joy Brown” opens Saturday, Feb. 22, and runs through April 6. For more information, visit www.hotchkiss.org.
This story has been updated to reflect a change in the scheduled opening date due to forecast extreme weather conditions.
