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Eva Funderburgh

A sculptor whose work ranges from clay to bronze to installation work, the movement and emotional content of Eva’s work stands out, regardless of the medium.

Technically a Seattle native, Eva grew up in Kansas and Pennsylvania. She then attended Carnegie Mellon University in Pittsburgh, graduating in 2005 with a Bachelor’s in Science and Art, with focuses on chemistry and sculpture. Not long after graduation she made her way back to her birthplace of Seattle with her partner, Ben.

In Seattle, Eva has worked with other wood fire potters and sculptors, becoming part of the regular crew on two local anagama kilns, Santatsugama and Ochawangama. In 2006 she teamed up with five other artists to create Florentia Clayworks, a small cooperative clay studio. She has also been involved with the Pratt Fine Art Center, first as a student, and then starting in 2014 as a teacher in their Foundry program, where she regularly teaches Introductory Bronze casting. Because of Eva’s background in chemistry, she is especially fascinated with patinas for bronze.

In 2010, Eva spent five weeks as an artist in residence at the Guldagergaard Center for Ceramics in Skaelskor, Denmark. This inspired her to increase the complexity of her work, leading to both larger sizes and more nuanced emotional content in her sculptural pieces. This residency also proved to be the start of a renewed interest in installation work: she now has pieces in a permanent installation in a Seattle school, as well as temporary installations in various galleries and a museum. Her work also graces private and public collections on four continents and in twelve countries.

Nowadays, Eva conducts workshops in sculpting in clay, bronze, and installation, besides continuing her own work in all three areas as well.

I find my work comes from a sense of whimsy at the world, and a deep rooted enjoyment in life. Each day, I try to take time to look around and appreciate the intensity of being that comes from being alive. These feelings are what I try to enclose in my art. I try to share the calm view of a forest in the cool curve of a cup. I work to capture the immense joy and mischief that I see in the world through the expressions of my sculptures, and their eagerness for movement. I feel that wood firing fits my work. . . it gives the pieces freedom and energy to fit their form.



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