Hi!

I have always wrestled with the question, “How can art serve others in a meaningful way?”. I realized that by not trying so hard to meet a defined idea of what is most useful, and just being authentic to myself, a true connection will be formed with someone else—a channel that invites healing.

Hi! My name is Natalia.

Natalia Viteri (she/they) is a queer, first-generation American of Polish and Ecuadorian descent from Queens, NY. She works as a multidisciplinary artist and freelancer, specializing in ceramic sculpture.

At Queens College CUNY, Natalia’s BFA thesis work, Apoptosis, began her investigation of psychological transformation, through the transmutability of ceramics. Her appreciation for the gravity of the mind comes from her studies conducted while earning her second degree, a BA in Psychology. After graduating with cum laude honors and awards (Studio Art Departmental Award, Student Life Peace Award), she went on to participate in a residency at the Chautauqua School of Art, where the Filtration Series and supporting Patients Series were born. Inspired by the bioswales around the town protecting the lake from ecological genocide, she explored the capacity to repurpose toxins that both plants and humans possess. Clay was the perfect medium for this study because it too is capable of filtration, and can fluctuate between states of matter. Heart of Chautauqua, her culminating work, considers the town’s colonial past, Native American roots, and the environmental evolution that placed these native plants in the role of humble yet hardy defenders.

After the worst of Covid had passed, Natalia exhibited in Free to Be: In Celebration of Pride Month at Culture Lab LIC and Plaxall Gallery, and received the Luxembourg Art Prize Certificate from The Pinacothèque. Most recently, her piece Oasis was commissioned by a client who wanted a welcoming gift for his daughter and son-in-law. Oasis carries the ideological torch of the Filtration Series, imbibed with the intention that the new home of her client’s children would always serve as a refuge from the turmoil of daily life. Clay is earth: the host of plants, and the solid feeling beneath our feet. What other material could be more suitable to serve the purpose of grounding us when things get rough?

Natalia’s art has been featured in numerous shows and publications, and received several awards and nominations. She hopes her work is able to also inspire others to find beauty in the mundane, challenging, or dismal.

Artist Statement

Natalia likes to take a magnifying lens to the routines and rituals we as humans perform consciously or not, using her own life as a case study and conduit to elucidate why others also do what they do. Many of our actions are guided by unexamined or ambiguous desires, impulses, and assumptions. At the worst of times, these actions can obstruct our own progress, or even destroy our environment. The artist finds that one way to pop these bubbles is to compare our lives to something so vastly different, the suggestion of similarity may feel asinine—such as plants. But when you change the scale and scope of your perception, it is possible to see that there is not much difference at all between the components of a salad and bipedal computers. The artist revels in this space of “hypocrisy”, where contradictions exist regardless of morality or logic, and force us to confront ourselves.

Why Clay?

Clay is Natalia’s medium of choice, because it provides a degree of freedom other materials don’t, and its metaphoric value enhances her work. Its plasticity is much like the plasticity of the brain. They both function within certain constraints, yes, but they are capable of morphing in astonishing ways. Sometimes, people can seem immovable, statuesque in their stubbornness or commitment to ideals. Yet because of traumatic events, chance meetings, or a simple desire, even the “worst” or “best” of us can change. Clay also exists in varying degrees of solid or liquid, dark or light, and strong or weak. Not only do many creation myths begin with clay, but the spaceships of today utilize this same substance to transport us into the future. It was with us as a species when we took our first steps, and continues to be our constructive companion, even in an increasingly mechanized world. As a modest yet powerful element, Natalia sees no better medium suited to expressing the body, mind, and environment in her art.

The Process

Natalia’s work is often the result of combining various techniques and materials. Most commonly used are hand-building, wheel-throwing, carving, and slip-casting with handmade molds. Sketching and research establish a direction and foundation. Maquettes are made before embarking on larger pieces, to test the viability of ideas and methods. She is patient, and does not usually feel the need to rush to the end goal, seeing each step as worthy in itself; an opportunity to learn. The creation of an actual piece often initiates a meditative or vulnerable state of mind. Eight hours fly by in a blink. Meanwhile, when relevant, she engages different emotional realms to fuel her mark making, perhaps like an actress might call upon a memory to conjure the correct and genuine feeling behind her lines. Critique is welcomed and considered. The end result will usually stray from the initial plan, not out of disorderliness, but rather an openness to the unexpected. Flexibility and intuition are paramount to Natalia’s practice.

Other Influences

Besides responding to current events, environmental concerns and the importance of psychology in those contexts, Natalia is inspired and influenced by many other artists and historical predecessors. Stylized flora and organic shapes echo from art nouveau, and eastern woodblock prints. Religious, spiritual and philosophical practices that worship nature, for instance Shintoism and Buddhism, support the work’s backdrop. Bursts of color and celebration of pattern are tied to textile design. Obsessively precise and evocative shapes nod to surrealism. The renowned Scarab Vase by Adelaide Alsop Robineau is a close relation to pieces like Oasis and Nectar in its excruciating filagree. Stanisław Szukalski’s plaster and bronze sculptures set goals for the rendering of overwhelming emotion and detail, such as in Apoptosis or Mania. Contemporary ceramicists including Sana Musasama, Beth Cavener, and Juli About address issues and topics within the realms of feminism, sexuality and autonomy that enable the kinds of conversations Natalia wishes also to instigate.

Hi! My name is Natalia.

Natalia Viteri (she/they) is a queer, first-generation American of Polish and Ecuadorian descent from Queens, NY. She works as a multidisciplinary artist and freelancer, specializing in ceramic sculpture.

At Queens College CUNY, Natalia’s BFA thesis work, Apoptosis, began her investigation of psychological transformation, through the transmutability of ceramics. Her appreciation for the gravity of the mind comes from her studies conducted while earning her second degree, a BA in Psychology. After graduating with cum laude honors and awards (Studio Art Departmental Award, Student Life Peace Award), she went on to participate in a residency at the Chautauqua School of Art, where the Filtration Series and supporting Patients Series were born. Inspired by the bioswales around the town protecting the lake from ecological genocide, she explored the capacity to repurpose toxins that both plants and humans possess. Clay was the perfect medium for this study because it too is capable of filtration, and can fluctuate between states of matter. Heart of Chautauqua, her culminating work, considers the town’s colonial past, Native American roots, and the environmental evolution that placed these native plants in the role of humble yet hardy defenders.

After the worst of Covid had passed, Natalia exhibited in Free to Be: In Celebration of Pride Month at Culture Lab LIC and Plaxall Gallery, and received the Luxembourg Art Prize Certificate from The Pinacothèque. Most recently, her piece Oasis was commissioned by a client who wanted a welcoming gift for his daughter and son-in-law. Oasis carries the ideological torch of the Filtration Series, imbibed with the intention that the new home of her client’s children would always serve as a refuge from the turmoil of daily life. Clay is earth: the host of plants, and the solid feeling beneath our feet. What other material could be more suitable to serve the purpose of grounding us when things get rough?

Natalia’s art has been featured in numerous shows and publications, and received several awards and nominations. She hopes her work is able to also inspire others to find beauty in the mundane, challenging, or dismal.

Artist Statement

Natalia likes to take a magnifying lens to the routines and rituals we as humans perform consciously or not, using her own life as a case study and conduit to elucidate why others also do what they do. Many of our actions are guided by unexamined or ambiguous desires, impulses, and assumptions. At the worst of times, these actions can obstruct our own progress, or even destroy our environment. The artist finds that one way to pop these bubbles is to compare our lives to something so vastly different, the suggestion of similarity may feel asinine—such as plants. But when you change the scale and scope of your perception, it is possible to see that there is not much difference at all between the components of a salad and bipedal computers. The artist revels in this space of “hypocrisy”, where contradictions exist regardless of morality or logic, and force us to confront ourselves.

Why Clay?

Clay is Natalia’s medium of choice, because it provides a degree of freedom other materials don’t, and its metaphoric value enhances her work. Its plasticity is much like the plasticity of the brain. They both function within certain constraints, yes, but they are capable of morphing in astonishing ways. Sometimes, people can seem immovable, statuesque in their stubbornness or commitment to ideals. Yet because of traumatic events, chance meetings, or a simple desire, even the “worst” or “best” of us can change. Clay also exists in varying degrees of solid or liquid, dark or light, and strong or weak. Not only do many creation myths begin with clay, but the spaceships of today utilize this same substance to transport us into the future. It was with us as a species when we took our first steps, and continues to be our constructive companion, even in an increasingly mechanized world. As a modest yet powerful element, Natalia sees no better medium suited to expressing the body, mind, and environment in her art.

The Process

Natalia’s work is often the result of combining various techniques and materials. Most commonly used are hand-building, wheel-throwing, carving, and slip-casting with handmade molds. Sketching and research establish a direction and foundation. Maquettes are made before embarking on larger pieces, to test the viability of ideas and methods. She is patient, and does not usually feel the need to rush to the end goal, seeing each step as worthy in itself; an opportunity to learn. The creation of an actual piece often initiates a meditative or vulnerable state of mind. Eight hours fly by in a blink. Meanwhile, when relevant, she engages different emotional realms to fuel her mark making, perhaps like an actress might call upon a memory to conjure the correct and genuine feeling behind her lines. Critique is welcomed and considered. The end result will usually stray from the initial plan, not out of disorderliness, but rather an openness to the unexpected. Flexibility and intuition are paramount to Natalia’s practice.

Other Influences

Besides responding to current events, environmental concerns and the importance of psychology in those contexts, Natalia is inspired and influenced by many other artists and historical predecessors. Stylized flora and organic shapes echo from art nouveau, and eastern woodblock prints. Religious, spiritual and philosophical practices that worship nature, for instance Shintoism and Buddhism, support the work’s backdrop. Bursts of color and celebration of pattern are tied to textile design. Obsessively precise and evocative shapes nod to surrealism. The renowned Scarab Vase by Adelaide Alsop Robineau is a close relation to pieces like Oasis and Nectar in its excruciating filagree. Stanisław Szukalski’s plaster and bronze sculptures set goals for the rendering of overwhelming emotion and detail, such as in Apoptosis or Mania. Contemporary ceramicists including Sana Musasama, Beth Cavener, and Juli About address issues and topics within the realms of feminism, sexuality and autonomy that enable the kinds of conversations Natalia wants to participate in.

CV

Curriculum Vitae

Natalia Viteri is a creative professional with over a dozen years of experience as an artist and freelancer in the realms of ceramics, graphic design and other visual arts. Additionally, she has over a decade of experience perfecting her leadership skills as a teacher at ceramic studios, after schools and summer camps across the age spectrum. Combined, these experiences and skills make Natalia flexible, patient, detail-oriented, organized, and physically capable of operating and maintaining studio spaces, as she does now as a studio technician at BKLYN CLAY, where her responsibilities include loading and unloading kilns, recycling clay, mixing formulae, and serving the community.

Education

2018—Queens College CUNY—BFA studio art ceramics cum laude, BA psychology cum laude

2013-2012—Parsons New School for Design—program in design and technology (transferred to CUNY in 2012)

2012—HS2AS | Queens Council on the Arts

2011—Summer Outreach Pre-College Program | Cooper Union School of Art

2010—Saturday Program for Graphic Design | Cooper Union School of Art

Awards

2023—Casting the Void—UrbanGlass, NY | $620

2018—Visual Art Summer Residency—Chautauqua Institution, NY | $5,000

2018—Student Life Peace Award—Queens College, CUNY | $300

2018—Studio Art Departmental Award—Queens College, CUNY |$200

2018—Burton L. Backner Student Affairs Award—Queens College, CUNY | $500 | nominee

2011—The Computers & Technology Committee of the United Federation of Teachers Certificate of Merit For Outstanding Achievement in Computer and Technology Application—Francis Lewis HS

Residencies

2018—[Ceramic] Art Summer Residency—Chautauqua Institution, NY | $5,000 | summer of 2018

2018—Van Lier Fellowship—Museum of Art and Design | New York, NY | $15,000 | nominee

2017—Van Lier Fellowship—Museum of Art and Design | New York, NY | $15,000 | nominee

Bibliography

Davis, Kirby. “Annual Student Exhibition to Feature Work From School of Art.” The Chautauquan Daily.

Inderjeit, Ameila. “QC Hosted First Annual Arts Festival.” The Knight News, Queens College CUNY.

Natalia Viteri is a creative professional with over a dozen years of experience as an artist and freelancer in the realms of ceramics, graphic design and other visual arts. Additionally, she has over a decade of experience perfecting her leadership skills as a teacher at ceramic studios, after schools and summer camps across the age spectrum. Combined, these experiences and skills make Natalia flexible, patient, detail-oriented, organized, and physically capable of operating and maintaining studio spaces, as she does now as a studio technician at BKLYN CLAY, where her responsibilities include loading and unloading kilns, recycling clay, mixing formulae, and serving the community.

Education

2018—Queens College CUNY—BFA studio art & graphic design cum laude, BA psychology cum laude

2013-2012—Parsons New School for Design—program in design and technology (transferred to CUNY in 2012)

2012—HS2AS | Queens Council on the Arts

2011—Summer Outreach Pre-College Program | Cooper Union School of Art

2010—Saturday Program for Graphic Design | Cooper Union School of Art

Awards

2023—Casting the Void—UrbanGlass, NY | $620

2018—Visual Art Summer Residency—Chautauqua Institution, NY | $5,000

2018—Student Life Peace Award—Queens College, CUNY | $300

2018—Studio Art Departmental Award—Queens College, CUNY |$200

2018—Burton L. Backner Student Affairs Award—Queens College, CUNY | $500 | nominee

2011—The Computers & Technology Committee of the United Federation of Teachers Certificate of Merit For Outstanding Achievement in Computer and Technology Application—Francis Lewis HS

Residencies

2018—[Ceramic] Art Summer Residency—Chautauqua Institution, NY | $5,000 | summer of 2018

2018—Van Lier Fellowship—Museum of Art and Design | New York, NY | $15,000 | nominee

2017—Van Lier Fellowship—Museum of Art and Design | New York, NY | $15,000 | nominee

Bibliography

Davis, Kirby. “Annual Student Exhibition to Feature Work From School of Art.” The Chautauquan Daily.

Inderjeit, Ameila. “QC Hosted First Annual Arts Festival.” The Knight News, Queens College CUNY.

Exhibitions

2023 June—Breaking More Boundaries—Culture Lab LIC | Curated Orestes Gonzales and Mariette Pathy Allen

2022 June—In Celebration of Pride Month: Free to Be—Culture Lab LIC | Curated Orestes Gonzales and Lissa Rivera

2019 June—Chautauqua School of Art Students and Emerging Artists Exhibition—Fowler-Kellogg Art Center, Chautauqua NY | Curated by Don Kimes

2019 June—Open Studios—VACI Quad, Chautauqua NY | Curated by Don Kimes

2019 July—Chautauqua School of Art Students and Emerging Artists Exhibition—Fowler-Kellogg Art Center, Chautauqua NY | Curated by Don Kimes

2019 July—Open Studios—VACI Quad, Chautauqua NY | Curated by Don Kimes

2018—QC Biennial—Flushing Town Hall, NYC | Curated by Sin-Ying Ho

2018—Sceneless Scene Showcase #37—The Klapper Gallery, NYC | Curated by Unfamous NY

2018—Sceneless Scene Showcase #36—The Klapper Gallery, NYC | Curated by Unfamous NY

2017—Senior Project Exhibition—The Klapper Gallery, NYC | Curated by Kurt Kauper

2017—Staff Works—Buck’s Rock Performing and Creative Arts Camp, New Milford, CT | Curated by Andrew Marathas

2017—Tea & Draw—Queens College, NYC | Curated by Unfamous NY

2016—Staff Works—Buck’s Rock Performing and Creative Arts Camp, New Milford, CT | Curated by Marie C’Field

2016—An Unfamous Art Show—Queens College, NYC | Curated by Unfamous NY

Service to the Community

Studio Assistant | Brickhouse Ceramic Art Center | May 2021-present

Load/unload bisque/glaze 3.5-11.5 cu. ft. electric Cone Art Kilns; stack shelves
Mix 5 gal. buckets of kiln wash, glazes and other formulae
Operate a pugger to recycle 32 gal. of clay at a time; drain 32 gal. slip containers and arrange on plaster bats for drying and future pugging
Clean slop sinks, common areas, kilns, grinder, spray booth and other equipment/spaces in 4,000 sq. ft. studio
Organize studio work for patron pickup; supply clean mop water and bathroom essentials for patron use

Ceramic Studio Technician | Chautauqua School of Art, NY | Summer 2018

Maintained, repaired, organized, cleaned, mixed glazes, recycled and mixed clay bodies, loaded and unloaded kilns, and conducted Raku firings for a 1,500 SF ceramic studio

Ceramics Club President | Queens College CUNY, NYC | 2016-2018

Oversee, plan, and allocate tasks involved with hosting workshops, charitable fundraisers, pottery sales, visiting artists, make-a-thons, and campus-wide art festivals. Administrative tasks include budgeting, filing paperwork, communication and networking, writing grant proposals, conducting elections, and conflict resolution.
Led initiative to start opening the ceramics club to non-art majors, educating the general student population, supplying them with materials, and welcoming them to guest speaker events
Increased revenue at fundraisers by 50% by supporting the value of student work and livening up advertising methods

Docent in Training | Rubin Museum of Art, NYC | 2012

Trained in the history of Tibetan Bhuddist culture to contextualize the art, architecture and symbolism featured in the museum’s collection
Learned how to speak about the works in the museum’s collection, from what to highlight, how to present the important points through speech, answering questions, awareness of body language, and confident behavior

Select Freelance Experience

Ceramic Artist | Private Client | June 2020-Aug. 2020

Created an ornately carved and glazed vase measuring 10 x 6 in. for a client to give to his daughter and son-in-law celebrating their new home
Utilized wheel throwing to create the initial form, trimming on the wheel, hand carving, and four cone 6 glazes to create the entire piece

Potter | Private Client | Jan. 2018-Feb. 2018

Created a 12-piece ceramic set for a client to use as a wedding gift within a two-month deadline titled Buds Emerging from Frost to commemorate a springtime wedding
Developed three original, one-part plaster molds for the slip-casting of plates, mugs, and bowls

3D Model Product Designer | Rite Lite Ltd. | Dec. 2018-Jan. 2019

Digitally modeled a new menorah for Rite Lite Ltd., renowned wholesaler of Jewish ceremonial effects
Utilized Fusion 360 to create the model, using a physical product mailed by the company as a reference

Select Work Experience

K-8 Afterschool Teacher | NYEdupia, NYC | 2012-2022

Teaching E.L.A., vocabulary, essay writing, creative writing, math, homework help, and E.S.L. to groups of students.

Makerspace Technician | Queens College CUNY, NYC | December 2018-November 2019

Maintained, repaired, and operated fabrication equipment and tools in a hands-on learning lab
Conducted one-on-one orientations with students to impart best practices and safety protocol
Performed clerical and receptionist duties such as data entry and customer service
Created promotional material and artwork as needed to advertise the space or events

Program Director | Art Party, NYC | 2015-2016

Project management, event planning, digital marketing, venue appraisal, consumable procurement, hiring, and graphic design for popup drink and draw events.