Christopher Reid Flock
Void.
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May 1-29, 2026
Opening Conversation: Friday, May 1, 7-9pm
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Void.
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May 1-29, 2026
Opening Conversation: Friday, May 1, 7-9pm
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Void brings together a small group of works moving between vessel, maquette, and provisional form. Working in clay, the work attends to stages of making often edited out—pauses, shifts, compressions, and what accumulates in the margins.
The material is not unearthed but assembled, brought into form through pressure and repetition. In this, each piece carries the conditions of its making. Control and collapse remain visible, not as opposites, but as concurrent states.
Forms move between containment and release. Some hold their structure, while others fold, rupture, or resist completion. Surfaces register these shifts, holding both precision and disruption. What emerges is not a resolved object, but a record of adjustment—where decisions remain legible.
These works operate as offerings. Not fixed or symbolic, but placed—gestures that hold, carry, or release without securing what is given. Through placement, each piece enters into relation with the others, establishing a field rather than a sequence.
Within this field, the act of making becomes a form of evaluation. Process is not separate from reflection; it is the means through which form is negotiated. What is revealed is partial, held in tension with what remains unresolved.
The black operates as both surface and condition. It absorbs and flattens, holding detail while obscuring it. In doing so, it gathers attention without directing it, allowing form to remain open.
The void here is not emptiness, but a kind of holding. A space where attention gathers, and where form and surface exist in dilation—remaining present, and in process.
Artist Bio
Christopher Reid Flock is a Hamilton-based artist working across ceramics, sculpture, installation, and material inquiry. His practice considers process, repetition, contingency, and the relationship between form, place, and attention.
Flock studied ceramics at Sheridan College, pursued formative clay study in Japan, and completed an MFA at University of Manitoba. He is a recipient of the Winifred Shantz Award for Ceramics and recently returned from a residency in Jingdezhen.
His work is held in public and private collections including the Art Gallery of Burlington, Canadian Clay and Glass Gallery, Fukuyama (Hamilton’s sister city), the Canadian Consulate residence in Paris, the Canadian Prime Minister’s Residence in Ottawa, and the Yingge Ceramics Museum.
The material is not unearthed but assembled, brought into form through pressure and repetition. In this, each piece carries the conditions of its making. Control and collapse remain visible, not as opposites, but as concurrent states.
Forms move between containment and release. Some hold their structure, while others fold, rupture, or resist completion. Surfaces register these shifts, holding both precision and disruption. What emerges is not a resolved object, but a record of adjustment—where decisions remain legible.
These works operate as offerings. Not fixed or symbolic, but placed—gestures that hold, carry, or release without securing what is given. Through placement, each piece enters into relation with the others, establishing a field rather than a sequence.
Within this field, the act of making becomes a form of evaluation. Process is not separate from reflection; it is the means through which form is negotiated. What is revealed is partial, held in tension with what remains unresolved.
The black operates as both surface and condition. It absorbs and flattens, holding detail while obscuring it. In doing so, it gathers attention without directing it, allowing form to remain open.
The void here is not emptiness, but a kind of holding. A space where attention gathers, and where form and surface exist in dilation—remaining present, and in process.
Artist Bio
Christopher Reid Flock is a Hamilton-based artist working across ceramics, sculpture, installation, and material inquiry. His practice considers process, repetition, contingency, and the relationship between form, place, and attention.
Flock studied ceramics at Sheridan College, pursued formative clay study in Japan, and completed an MFA at University of Manitoba. He is a recipient of the Winifred Shantz Award for Ceramics and recently returned from a residency in Jingdezhen.
His work is held in public and private collections including the Art Gallery of Burlington, Canadian Clay and Glass Gallery, Fukuyama (Hamilton’s sister city), the Canadian Consulate residence in Paris, the Canadian Prime Minister’s Residence in Ottawa, and the Yingge Ceramics Museum.