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Raymon Elozua

Biography to Display: 

1947Born Bernstadt, West Germany


1965-1969Political Science, Sculpture and Theatre, University of Chicago, Chicago, Illinois


1979-1999Consultant and Curator, The Allan Chasanoff and Raymon Elozua Amazing Grace Collection, Smithsonian Institution, Washington, D.C.

1982-1986Faculty, Ceramic Sculpture, New York University, New York, New York

1984-1985Faculty, Graduate Department, Pratt Institute School of Art and Design, Brooklyn, New York


Raymon Elozua’s clay career began with functional pots but quickly moved to create post-industrialist ceramic sculptures incorporating metal and clay components. Following trends in photo-realism, he modeled sculptures of deteriorating American industrial architecture including, water towers, industrial sites, billboards, and drive-in movie theatres.

Elozua used these sculptures as a way to comment on the socio-economic consequences of industrial decline and its effect on American blue collar workers of the 1980s. Using a combination of open metal forms and colorfully glazed components, Elozua created a series of deconstructed teapots, bottles and traditional pottery forms.

In the 1990s Elozua used a computer to scan iconic paintings and separate their colors into individual layers. He then created a collage from selected layers of scans from different paintings. Each collage was then studied, interpreted and sculpted into a wire and clay mixed media sculpture. These works were titled to reference the artists whose work was used in layers of the original collages.

During his career, Elozua produced a large body of photographic images of weathering objects and buildings. With Allan Chasanoff, Elozua created the Amazing Grace Collection of 3,000 recorded performances of "Amazing Grace," now held by The Library of Congress, Washington, D.C. 

A digital exhibition of Elozua's work, first shown May 10 - August 3, 2003, at the Mint Museum of Craft + Design, is available at

Public Collections

Public Collections to Display: 

Albany Museum of Art, Albany, Georgia

Alfred Ceramic Art Museum, Alfred University, Alfred, New York

Arizona State University Art Museum, Tempe, Arizona

Belger Arts Center, Kansas City, Missouri

Birmingham Museum of Art, Birmingham, Alabama

Carnegie Museum of Art, Pittsburgh, Pennsylvania

Contemporary Art Museum, Honolulu, Hawaii

Cranbrook Art Museum, Cranbrook Academy of Art, Bloomfield Hills, Michigan

Crocker Art Museum, Sacramento, California

Daum Museum of Contemporary Art, Sedalia, Missouri

De Saisset Museum, University of Santa Clara, California

Erie Art Museum, Erie, Pennsylvania

Everson Museum of Art, Syracuse, New York

Frederick R. Weisman Museum, University of Minnesota, Minneapolis, Minnesota

Long Beach Museum of Art, Long Beach, California

Los Angeles County Museum of Art (LACMA), Los Angeles, California

Mint Museum, Charlotte, North Carolina

Montclair Art Museum, Montclair, New Jersey

Museum of Fine Arts, Houston, Texas

Museum Ludwig, Aachen, Germany

Museum of Arts and Design, New York, New York

Nora Eccles Harrison Museum, Logan State University, Logan, Utah

Newark Museum, Newark, New Jersey

Ohio Historical Society, Youngstown, Ohio

Oakland Museum of California, Oakland, California

San Angelo Museum of Fine Arts, San Angelo, Texas

San Francisco Museum of Modern Art, San Francisco, California

Wadsworth Atheneum, Hartford, Connecticut

World Ceramic Foundation, Korea

Wison Art Museum, Shanghai, China

Yale University Art Gallery, New Haven, Connecticut


Bibliography to Display: 

Del Vecchio, Mark. Postmodern Ceramics. New York: Thames & Hudson, Inc., 2001.

Dietz, Ulysses Grant. Great Pots Contemporary Ceramics from Function to Fantasy. Madison, WI: Guild Publishing, 2003.

Lauria, Jo. Color and Fire Defining Moments in Studio Ceramic. Los Angeles, CA: Los Angeles County Museum of Art and Rizzoli International Publications, 1950-2000.


CV or Resume: Click Here to Download


Artist's Studio: Elozua Studios


Typical Marks
Ceramic Charger
Date: 1970
Method: Thrown
Surface Technique: Stain
Photo: iGavel Auctions
Photo: iGavel Auctions
Photo: iGavel Auctions
Pier Bowl
Date: 1976
Materials: Stoneware
Method: Thrown, Hand-Built
Surface Technique: Glaze
Photo: Artist
Photo: Artist
Photo: Artist
Skyway Drive-in
Date: 1982
Form: Sculpture
Materials: Mixed Media, Terracotta
Method: Mixed Methods
Surface Technique: Glaze
Built by Raymon Elozua and Micheline Gingras
Photo: Artist
Built by Raymon Elozua and Micheline Gingras
Photo: Artist
Digital Sculpture, RE 17-1-word
Date: 2001
Materials: Mixed Media
Method: Mixed Methods
Surface Technique: Glaze
Photo: Artist

Citation: "The Marks Project." Last modified August 2, 2023.