Things emerge in my studio from a seen image or experience that gets recalled in whatever work I am doing. The work becomes a conduit of the memory of a painting, a landscape, architecture, or some other visual stimulus. Once it starts to manifest itself in my art, the topic and subject then gets further researched in books, visits to museums, or by another trip.
(Source: Frank Lloyd Wright Gallery artist biographies: excerpt from Two Bronze Benches and Four “Ceramic Pictures” of Korean Paintings, November 23, 2002 – April 13, 2003, interview with curator Patterson Sims)
Betty Woodman (Designer: Viola Frye), Cup & Saucer, ca. 1986. Porcelain, cup: H. 3-½, Diam. 4-½ inches (8.9 x 11.4 cm), saucer: H. 2, Diam. 6-½ inches (5.1 x 16.5 cm). The Metropolitan Museum of Art, 2000.427a.b.
Betty Woodman, Pillow Pitcher, 1983. Glazed earthenware, 19 x 16 x 23 in. (48.3 x 40.7 x 58.4 cm.). Smithsonian American Art Museum, Gift of Jocelyn and Charles Woodman, 1992.42. (Smithsonian American Art Museum, Luce Foundation Center, 4th Floor, 53B).
Betty Woodman, Kimono Vases: Evening, 1990. Glazed earthenware, part A: 31 x 22 1/2 x 8 1/2 in. (78.7 x 57.1 x 21.6 cm) part B: 31 x 23 5/8 x 8 1/2 in. (78.7 x 60.0 x 21.6 cm). Smithsonian American Art Museum, Gift of the James Renwick Alliance and museum purchase made possible by the Smithsonian Institution Collections Acquisition Program, 1992.118A-B.
Betty Woodman, Diptych: the Balcony, painted earthenware, 2008.
Betty Woodman, Floral Vase and Shadow, 1983 (work by part of her solo retrospective at the Met).