Biliana works in sculptural and decorative ceramic art, metal, and fiber craft mediums, a Los Angeles-based artist. She is an adjunct professor at Glendale Community College and a ceramics teacher at Flintridge Prep School. She holds Masters in Ceramics from the National Art Academy in Sofia, Bulgaria, and a Fine Art Highschool Diploma. Since 2003 Biliana has taught ceramics in LA and has led numerous workshops and lectures at local universities and colleges.
Biliana is a nationally recognized artist with numerous awards. She has exhibited at Laguna Art Museum, MOMA, LACMA, and AMOCA, to name a few. In addition, her work was featured on the cover of Lark Books' "500 Figures in Clay", 2014.
Statement
I love form. From the seashells to the rolling hills in a landscape, I have always found it fascinating - curves, silhouettes, and cast shadows to engage my attention. I am transfixed by how forms transition into one another or how the human body's posture and movement transcend emotion.
In my work, I predominantly explore the female form. My favorite subject is the "silent" body language of the figures I create. My sculptural work differentiates into two categories: large (over 15" in height) that have a monumental appeal and small (typically below 12" in stature) that are like quick studies and sketches. One building method is assembling hollow forms, which brings structural integrity. However, they appear more static in posture. Another is to build solid and hollow out in preparation for firing. The latter process allows more freedom with the form, creating flowing and dynamic figurines. In addition, I have explored bas-relief sculptural work, which appears more two-dimensional as it is meant to be observed from the front and back.
My previous experience with printmaking led me to explore graphic imagery in my decorative art pieces. Large bowls and plates offer the best three-dimensional canvas for that. I call that body of work "Objects of Function." The contrast of crisp lines and delicate colored textures is vital to me. I use tape resist to get sharp lines, and for the colored textured surface, engobes (specially formulated liquid clays) and lichen-like glazes. In addition, I like the forms to have a movement. Therefore, they are constructed by hand, using coils and slabs of clay. This method allows a measured imperfection - a reference to the organic and natural world, a subtle movement to observe from multiple angles.
My latest work explored a symbiosis between the "Figurative" and the "Objects of Function." I create another dimension by applying my graphic images to the sculptures, a double-exposed image.
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