Surface Collection
By Peter Souza Jr.
A one-of-a-kind wall work by Peter Souza Jr., built from hundreds of painted wood offcuts — strips, blocks, and fragments layered edge over edge across a square panel. Washes of blue, orange, green, and yellow sit scrubbed and worn into the wood, no piece finished the same way twice. The surface reads flat from across the room and deepens into relief up close.
Nothing here is buried completely. Layer moves over layer — orange under green, green under blue — and every pass leaves the earlier ones showing through. A surface built by covering, where the covering never quite holds.
By Peter Souza Jr.
A wall-mounted form built through cutting, joining, painting, and sanding — wood treated as both structure and surface. Acrylic and watercolor wash across the assembled form, holding the marks of two materials in dialogue. The piece reads as record of attention: each layer of paint, each cut and joined edge, evidence of slow making.
By Peter Souza Jr.
The costume set down. Blocks and slats hold their positions on the panel, but the same wash moves over all of them — one color running through what used to be separate performances. What's left when the effort of appearing stops.
By Peter Souza Jr.
A vertical wall sculpture in wood, acrylic, and watercolor. The forms gather and disperse — figures held briefly together, painted in soft washes. The piece carries the doubleness of its title: things lost and things kept, the act of finding what gets returned and what doesn't.
By Peter Souza Jr.
A small standing sculpture in wood, acrylic, and watercolor by Peter Souza Jr. The forms read as figures gathered close, painted in soft washes that hold the light. The piece carries its title openly — a quiet figuration of holding on.
By Peter Souza Jr.
A vertical sculpture in wood, acrylic, and watercolor by Peter Souza Jr. Smaller than the larger assemblages but holding the same vocabulary — gathered forms, painted surfaces, careful joins. The piece reads as both vessel and figure, an object that suggests something held or remembered.
by Jim Schatz
A series of four one-of-a-kind table lamps composed through structure, repetition, and proportion — each piece a study rather than a variation. Clean lines, controlled surfaces, and carefully resolved relationships, rooted in Bauhaus clarity and mid-century modern thinking. Quietly architectural by day, warm when illuminated.
by Jim Schatz with J Schatz Studio
A homage to space age design. The Bubble Lamp Pair anchors a credenza or tops off nightstands — stoneware orbs stacked offset from their base, finished in high-gloss glaze and crowned with a linen shade. Sold as a pair.
by Jim Schatz
Cactus Pendant Lamp suspends a flattened stoneware body from a length of white nylon rope passing through a top eyelet. Seven ceramic forms extend outward from the lower chamber, each terminating in a small bulb — a single body articulated into multiple points of light.
by Jim Schatz
Aura Pendant Lamp suspends a flattened, ovoid stoneware body from a length of white nylon rope passing through a top eyelet. A circular aperture in the body holds the light, so illumination reads through the piece rather than from a fixture above.
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J Schatz Studio
22005 Van Dyke Ave.
Warren, MI 48089
866-344-5267
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by Jim Schatz with J Schatz Studio
A suspended ceramic composition of 34 stoneware orbs in glossy bright white glaze, held in place by hand-knotted jute rope. Each orb is thrown perfectly round and high-fired to 2200°F, where it settles into an imperfect ellipse — a gesture to the handmade nature of ceramics, finished in a flawless white surface. Studio-cast and finished by hand. Numbered and dated by the artist.
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