She counts among her artistic influences the abstract expressionism of Louise Nevelson’s monochromatic wooden compositions, and the post-minimalist sculptures of Eva Hesse.

Dawn’s earlier work tended to focus on surface and texture, with the constituent forms working within the constraints of shallower dimensions.  After learning the technique of “naked raku” from Wally Asselberghs, she found herself thinking about forms in greater dimensions: in curves and swells that rise break from the surface while articulating the flow of the larger whole. Through a great deal of trial and error she adapted the glazing recipes she learned from Asselberghs to use locally available ingredients, and developed her own technique for integrating naked raku with traditional raku, becoming one of perhaps a dozen artists in the world currently using both techniques simultaneously in individual pieces. The resultant play of absorption and refraction—of warm bare surfaces curling against and through shimmers of light and color—give her sculptures a quality that is at once grounded and atmospheric. Though beautiful even in stasis, her work cannot be fully appreciated until you have seen it displayed where the lighting shifts over time.

Dawn’s sculptures have been displayed in numerous venues across the US.  Her work has been commissioned by several companies such as Elizabeth Arden Red Door and Maestro’s Ocean Club, and by private collectors that include film producer Kiki Goshay and retired news anchor and journalist Charles Gibson.

Dawn Renee currently resides in Tucson, Arizona. When she is not working in her studio, she teaches art to a new generation of artists at the Arizona School for the Deaf and Blind, where she developed the prototype for the Paint Pot Palette: a Braille palette that can easily be changed to allow blind artists to choose colors for glazing.

Dawn Renee