The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond, to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. A listing in the OAR does not confer an endorsement, approval, or verification by the Ohio Arts Council.
For more information, contact Kathy Signorino, artist programs director, at firstname.lastname@example.org or 614-728-6140.
I have led a “double life” of sorts in the field of business, as well as art. I first received a B.S. in Economics from Lehigh University (graduating Cum Laude), followed by an MBA from Stanford Business School. Upon graduating from Stanford, during the tumultuous period of the Vietnam War, I spent several years in a pilot MBA program for VISTA (domestic Peace Corps) consulting for community groups in a Hispanic neighborhood in San Francisco.
It was during my time in VISTA that I first began to work as an artist – a practice I continued to develop while later working at IMG (the dominant firm in the sports marketing field). My expertise in business and art allowed me to help create a ceramics cooperative in Cleveland in 1978.
In 1990, I decided to go to art school and spent four years at the Cleveland Institute of Art. I also received a graduate degree in Nonprofit Management from Case Western Reserve University in 1996.
I have been working as a studio artist since since 1995 and have had the good fortune to exhibit my work in a range of venues, including the prestigious Strictly Functional Pottery National, the Clay National, and the Annual Juried Competition of Contemporary Islamic Art. A sampling of my pieces is available at: bob-bruch.blog.
In developing my asymmetrical work, I am guided by the interaction of volume and line during the making of each piece.
My irregular, apparently random, coil-built constructions result from variances introduced at the base of each vessel during the initial phase of my hand-building process. From these slight modifications in the base upon which I coil-build each vessel, a uniquely organic – yet “predetermined” – shape emerges.
As my construction begins to close in along the top of each vessel, I introduce a more deliberate edge or line in finishing the piece. The tension and dialogue this edge creates between line and volume in each piece tells a story.
My surface treatment of each pot aims to highlight and complement the work’s narrative contour.