QUICKSAND

July 10 - August 16, 2025

Opening Reception: July 10, 6pm - 9pm

Artists: Charlie Lambert, Patrick Bell, Sadaf Azadehfar, Tucker Claxton

Frisson is delighted to announce our summer ceramics exhibition, Quicksand. While the show is conceptualized as a celebration of ceramics as a whole, it focuses on the medium's incredible capacity to serve as a receptacle and conduit for liquids, particularly water. The works of the four artists featured in Quicksand explore this relationship in formal, bodily, ceremonial, and geopolitical contexts. 

Charlie Lambert works with clay, metal, concrete and found material to create installations and objects. Through the lens of sympathetic magic, he navigates New York as a site of home, coast, conflict, grief and precarity.

Patrick Bell creates entities that materialize their relationship to health and the anxieties that surround it. Illness, including persistent struggle with identity and body dysmorphia, as well as maladaptive and destructive self-soothing strategies, manifests itself in their art as metaphysical and anatomical explorations. Fingers, organs, torsos, and other locations both inside and outside the human body become symbolic representations of sensations and moments.

Sadaf Azadehfar works across sculpture and photography, drawing from personal archives, historical references, and the shifting landscapes of memory and displacement. Her ceramic sculptures often take the form of fountains or architectural fragments, using unglazed tile, sensor-activated water, and symbolic creatures like snakes to evoke themes of control, resilience, and myth. Influenced by the colonial history of water in the Middle East and the architecture of Persian gardens, her work explores how infrastructure serves as a vessel for both oppression and survival.

Tucker Claxton is trying to find God through a glory hole—or at least find enlightenment in a dark room. The crux of their practice comes from wanting queerness to stop being used as a political boogie man while also wanting to get my back blown out from a person whose name they will never know. This tension is played out by poorly replicating historical vessels and mixing the forms with common religious, sexual, and pop cultural iconography.