Item Records

This page shows all the information we have about this item. Both the institution that physically holds this item, and RRN members have contributed the knowledge on this page. You’re looking at the item record provided by the holding institution. If you scroll further down the page, you’ll see the information from RRN members, and can share your own knowledge too.

The RRN processes the information it receives from each institution to make it more readable and easier to search. If you’re doing in-depth research on this item, be sure to take a look at the Data Source tab to see the information exactly as it was provided by the institution.

These records are easy to share because each has a unique web address. You can copy and paste the location from your browser’s address bar into an email, word document, or chat message to share this item with others.

  • Data
  • Data Source

This information was automatically generated from data provided by MOA: University of British Columbia. It has been standardized to aid in finding and grouping information within the RRN. Accuracy and meaning should be verified from the Data Source tab.

Description

Large ceramic sculpture of half of a giant bean pod (part a) with 8 ceramic beans (parts b-i) of different sizes that sit inside the open pod, filling it from end to end. Pod is dark brown with a light pink-off white tip at one end. Interior of pod has symbols etched into spaces that match those marked on one side of the beans that fit in each part of the pod. Beans are all a light pink to off-white colour.

Narrative

The artists' statement from the 2005 "Transformations Ceramics" exhibition reads: "The Encoded Megabean is a larger than life smoke-fired pod containing burnished porcelain beans that are encoded with symbols of the wanderer, branch, circle, square, crystal, spiral, triangle and ray. Informed by the concepts found in "Chaos Theory" some of these symbols represent the building blocks of nature, the elemental forms from which everything in existence is derived. Its superimposed scale suggests the possibility of genetic interference in our ever-developing world. [It] is a metaphor for our fundamental relationship to this very primal concept of existence, declaring that humans can never overcome nature, despite our ever-growing connection to technology." The sculpture was published in, and the cover image for, "TransFormations: Ceramics 2005 (Potters Guild of British Columbia)" by C.E. Mayer, a publication for the above exhibition, held at the Burnaby Art Gallery (page 29).

Item History

With an account, you can ask other users a question about this item. Request an Account

With an account, you can submit information about this item and have it visible to all users and institutions on the RRN. Request an Account

Similar Items