New Mexico Potters and Clay Artists

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NMPCA Studio Tour

Tamara Cameron

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Lee Akins
Cricket Appel
Amber Archer
Michelle Arterburn
Karin N. Bergh
Elaine Biery
Kathryn Blackmun
Joe Bova
SheenaCameron
Tamara Cameron
Barbara Campbell
Dan Cappacio
David Conrad
Kathryne Cyman
Sara Lee D'Alessandro
Mary Sharp Davis
JoAnne DeKeuster
Kevin DeKeuster
Elizabeth Donsbach
Adel Devalcourt
Gloria Gilmore House
Carolyn Efner
Liz Fiset
Eileen Gorman
Philip Green
Barbara Harnack
Sandra Harrington
Theo Helmstadter
Alexis Higginbotham
Cheryl Hoagland
Marc Hudson
Linda R. Kastner
Daisy Kates
Barbara King
Michael Lancaster
Jody Lentz
Misha Malpica
Lynne McCarthy
Karen K. Milstein
Darlene Nelson
Judy Nelson-Moore
Shel Neymark
Casey Pendergast
Mario Quilles
Judith Richey
Kari Rives
Elizabeth Rose
Anne Russell
John Sapienza
Abby Salsbury
Joey Serim
Carolyn Robbins Siegel
Barry Slavin
Cirrelda Snider-Bryan
Evan Speegle
Rusty Spicer
Grady Stem
Christina Sullo
Marilu Tejero
Kristin C. Thacher
Darla Graff Thompson
Michael Ray Thornton
Toni Trosky
Ann Trott
Layne Vickers Smith
Elaine Weaver-Spalek
Irene Renee Wiley
Frank Willett
Betsy Williams
Tomás R. Wolff

Santa Fe, New Mexico
505-690-7947
email: tamaracameron@me.com
website: tamaracameron.com
Please call or email to arrange a studio visit

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Tamara Cameron

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Tamara Cameron.

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Artist's Statement:

Clay, the Figure and Santa Fe

The landscape, culture and community in and around Santa Fe, New Mexico have gradually shaped who I have become and, in turn, they have influenced my sculptural work. It is a region of sharp contrasts, that seem to exist in balance - ancient and modern, stark and rich. The architecture of the varied cultures here is, and always has been, dominated by the land and the practical demands it makes. The clean lines help create an aesthetic of simplicity, beauty and honesty of purpose. The purity of a clear night sky, changing seasons and vast, harsh yet beautiful landscapes are collaborative influences.

Why clay? I enjoy the malleability and the tactility of clay. There is an intellectual and a meditative quality when working with clay.

The figure. In essence, the torso is used as a catalyst for finding a purity of motion within a simply elegant form. The abstract quality, or pieces and parts are used to create a whole. Experience, relationship, deconstruction and reconstruction combine to shape each new figure.

Tamara Cameron
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