The American artist, Chris Antemann earned her M.F.A. in ceramics from the University of Minnesota and her B.F.A. in ceramics & painting from Indiana University of Pennsylvania. She has exhibited extensively in the United States, Europe and Asia. Her work can be found in many private and public collections, including the Museum of Arts and Design, The 21 C. Hotel Museum, The KAMM Teapot Foundation, The Archie Bray Foundation, and The Crocker Art Museum. Her artist residencies include The Archie Bray Foundation and The John Michael Kohler Arts Center, where she was the NEA funded resident. In 2010 she was the First Place Winner of the Virginia A. Groot Grant, a prestigious grant awarded to artists working in 3D to allow them time to further their work. For the past seven years, Chris has been working with MEISSEN; collaborating with Europe’s Oldest Porcelain Manufactory on Unique and Limited Edition Artworks. This experience offered her the opportunity to create her largest installation, Forbidden Fruit: Chris Antemann at MEISSEN, which travelled for three years in the US from the Portland Art Museum, Portland, Oregon to the Museum of Arts and Design, New York, New York and will travel to The State Hermitage Museum in St Petersburg, Russia in 2019.
Inspired by 18th C. porcelain figurines, Chris Antemann’s work employs a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge; elaborate dinner parties, picnic luncheons and ornamental gardens set the stage for her twisted tales to unfold.
The pieces Chris is making in the Meissen Art Campus use the literary technique of a frame narrative, a story within a story, to build relationships and create layers of information between the sculptural aspects and the painted surfaces. The main story is presented in the guise of the 18th century porcelain figurine as a context, which frames a parody or second narrative between the sculpted characters. Other stories and in many cases, the sources of inspiration for the piece are painted into the scene in elaborate detail.