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Shalene ValenzuelaImplements of Self Construction: Unstable Subjects I, 2022
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Shalene Valenzuela, Implements of Self Construction: Unstable Subjects II, 2022
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Shalene ValenzuelaImplements of Self Destruction: Invasive, 2020
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Shalene Valenzuela, Suck It Up: Ears Are Burning, 2018
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Shalene Valenzuela, Paint Can: An Apple a Day . . . , 2021
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Shalene ValenzuelaPaint Can: Bleach, the Magical Cure-All, 2021
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Shalene Valenzuela, Paint Can: Warning Signs, 2021
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Shalene ValenzuelaPaint Can: White Picket Fences, 2021
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Shalene Valenzuela, Ironing Things Out: Light It Up, 2022
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Shalene Valenzuela, A Toast to Burning Desires: Whipped, 2022
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Shalene Valenzuela, Telephone: Blue Tangle, 2022
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Shalene Valenzuela, Shaking Things Up: Coming Up Roses, 2022
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Shalene ValenzuelaShaking Things Up: Archery Practice
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Shalene Valenzuela, Catty Creamer, 2022
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Shalene Valenzuela, Catty Creamer, 2022
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Shalene Valenzuela, Catty Creamer, 2022
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Shalene Valenzuela, Catty Creamer, 2022
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Shalene Valenzuela, Hung Up I, 2021
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Shalene Valenzuela, Hung Up II, 2021
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Shalene Valenzuela, Hung Up III, 2021
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Shalene Valenzuela, Hung Up IV, 2021
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Shalene Valenzuela, Hung Up V, 2021
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Shalene Valenzuela, Hung Up VI, 2021
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Shalene Valenzuela, Influencer: Instamatic!, 2022
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Shalene ValenzuelaInfluencer: Instamatic!, 2022
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Shalene Valenzuela, Influencer: Instamatic!, 2022
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Shalene Valenzuela, Influencer: Instamatic!, 2022
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Shalene Valenzuela, L'Eggs Salt & Pepper Set, 2022
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Shalene Valenzuela, L'Eggs Salt & Pepper Set, 2022
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Shalene Valenzuela, L'Eggs Salt & Pepper Set, 2022
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Shalene Valenzuela, L'Eggs Salt & Pepper Set, 2022
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Shalene ValenzuelaSprinkled Donut - Fine Dining Plate I, 2021
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Shalene Valenzuela, Hot Dog on a Stick - Fine Dining Plate, 2021
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Shalene Valenzuela, Hot Dog! - Fine Dining Plate II, 2021
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Shalene ValenzuelaHot Dog! - Fine Dining Plate I, 2021
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Shalene Valenzuela, My Perfectly Legal Vote - Commemorative Plate, 2020
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SHALENE VALENZUELA
My works are essentially a form of trompe l’oeil with a twist. By using clay to reinvent everyday objects, I play with the notion that things are not what they initially seem to be. The form of the object is recognizable, while its illustrated surface weaves together a narrative—sometimes explicit, sometimes enigmatic—with imagery and language. Exploring issues focused on women is important to me. Through my art practice I examine my own personal history and how I evolved into who I am presently. I also investigate greater issues of how women in general perceive themselves and are seen in society, historically and today. I explore how assumptions of character based on societal biases lead to a precarious and unbalanced state of humankind.
— Shalene Valenzuela
Shalene Valenzuela was born and raised in Santa Barbara, California. She received a BA in Art Practice at the University of California at Berkeley, and an MFA in Ceramics from California College of Arts and Crafts. In 2007, she moved from her longtime home of Oakland, CA to participate in a long-term residency at The Clay Studio of Missoula. Post-residency, she returned to Montana, serving on the board of The Clay Studio of Missoula before becoming the organization’s Executive Director in 2012.
Valenzuela has participated in short-term artist residencies at the Archie Bray Foundation (2006), Watershed Center for the Ceramic Arts (2004, 2011), and the LH Project (2016). She has taught a variety of classes at Flathead Valley Community College, the University of Montana, Oregon College of Art and Craft, The Clay Studio of Missoula, Missoula Art Museum, Richmond Art Center, ASUC Studios at UC Berkeley, and CCA Extended Education. Valenzuela has been a guest artist and speaker at a number of art centers, colleges, and universities. Her work has been featured in several group and solo exhibitions nationally and is in a number of private and public collections.