Sterling Ruby's "Basin Theology" series is a remarkable exploration of ceramic art, where he incorporates smaller, unsuccessful ceramic pieces into larger basins, creating containers that hold broken shards and remnants reminiscent of bodily waste or human organs. This approach of collecting and coalescing these fragments serves as a method for Ruby to "swallow up failures," turning them into new, thought-provoking artworks. These basins stand as a testament to Ruby's willingness to engage with the process of decay and renewal, embracing what might initially appear as technical amateurism and transforming it into something deeply intimate and, at times, unsettlingly sensual (Artsy).
Ruby's engagement with ceramics has been a central part of his artistic practice, initially beginning as a form of therapy. His ceramic works, which include not only the basin sculptures but also smaller utilitarian objects, figurative pieces, and more, often evoke a sense of grotesque beauty, highlighting a fascination with decay and the process of material transformation. The "Basin Theology" series, in particular, showcases Ruby's ability to create confident statements through ceramics, inviting viewers to consider the cyclical nature of life and art (Gagosian).
One of Ruby's exhibitions, held at Gagosian in 2017, featured the largest basins he had produced to date within the "Basin Theology" series, alongside figurative and totemic ceramics. These pieces, with their deep, textured vessels containing studio remnants and discarded fragments beneath layers of viscous glazes, suggest vibrant landscapes emerging from chaos. The variegated surfaces of these works result from different stages of kiln firing, revealing Ruby's mastery over his medium and his ability to find beauty and potential in what might otherwise be considered waste (Gagosian).
Ruby's work, including the "Basin Theology" series, is emblematic of his broader artistic vision, where the act of creation is deeply intertwined with themes of destruction, renewal, and the passage of time. His ceramics invite a contemplation of the artistic process itself, turning the studio into a site of archaeological discovery where the past and future collide, and where nothing is ever truly wasted.
