Bio
Ray McIntyre (b. 2000) is an artist and designer from Saint Louis, MO. He recieved his BA in Architecture from Washington University in St. Louis in 2023. Subjects of interest in his work include his relationship with his Japanese-American identity, the greater East Asian diaspora, heirloom objects, luxury goods, loss, and industrial manufacturing processes. He lives and works in Los Angeles.
Glazed Porcelain, Glazed Stoneware,
String, Poplar, Particle Board, Acrylic, Lighting, Sand
Dimensions Variable
Left: Stills from Installation, Day (1 - 4), Night (5 - 7)
Below: Installation Videos, Accompanied Poem
I made these bells attempting to bring in some of the sounds I heard when I was night hiking up Mt. Takao with some members of the church my mother goes to.
There was a temple located about 2/3rds of the way up that had these chimes suspended that made a similar sound in the wind. With the translation to the installation, I wanted the sculpture to be participatory; the bells are sited at various heights 28 inches off the floor.
I paired this with porcelain slabs that were lit from below, the white ones revealing their translucency and the charcoal porcelain made the light refract on the ceiling. The two lower lit pedestals had porcelain slabs with this poem I originally saw as a part of a Comme des Garçons collection, a fashion label that my mother introduced me to. My late grandmother wore it, and my mother and I wear it today.
The installation is a garden of this sound memorializing my grandmother, who was the reason I pushed through undergraduate studies. Without her influence and her undying love and support, I don’t know what I would’ve done.
String, Poplar, Particle Board, Acrylic, Lighting, Sand
Dimensions Variable
Left: Stills from Installation, Day (1 - 4), Night (5 - 7)
Below: Installation Videos, Accompanied Poem
I made these bells attempting to bring in some of the sounds I heard when I was night hiking up Mt. Takao with some members of the church my mother goes to.
There was a temple located about 2/3rds of the way up that had these chimes suspended that made a similar sound in the wind. With the translation to the installation, I wanted the sculpture to be participatory; the bells are sited at various heights 28 inches off the floor.
I paired this with porcelain slabs that were lit from below, the white ones revealing their translucency and the charcoal porcelain made the light refract on the ceiling. The two lower lit pedestals had porcelain slabs with this poem I originally saw as a part of a Comme des Garçons collection, a fashion label that my mother introduced me to. My late grandmother wore it, and my mother and I wear it today.
The installation is a garden of this sound memorializing my grandmother, who was the reason I pushed through undergraduate studies. Without her influence and her undying love and support, I don’t know what I would’ve done.
2024 (TOP): Glazed Porcelain, Bamboo
8” x 6” x 3.25”
2022 (Below): Stoneware, Assorted Surface Decoration (Glazes, Oxides, Mason Stains, Washes), Bamboo
7” x 6.25” x 2.25”
8” x 6” x 3.25”
2022 (Below): Stoneware, Assorted Surface Decoration (Glazes, Oxides, Mason Stains, Washes), Bamboo
7” x 6.25” x 2.25”
あれだ Boots
Ceramics
2024
Glazed and Unglazed Stoneware Casting Slip
R: 9.75” x 3.5” x 8.75”
L: 2.25” x 3.5” x 8.75”
Collaborative Work with Aleida Hertel
R: 9.75” x 3.5” x 8.75”
L: 2.25” x 3.5” x 8.75”
Collaborative Work with Aleida Hertel
Headstone for a Nisei
Ceramics, Sculpture
2024
Glazed Stoneware Casting Slip, Wood, Glazed Stoneware, Epoxy
18” x 11” x 9”
18” x 11” x 9”