My natural process is to sculpt intuitively.
Since my formal training, my ceramic practice has been focused primarily on exploring two distinct alternative firing processes outside of the electric kiln. I’m a bit of a”firebug” alternating between using wood kilns and also the raku process (gas kiln and igniting combustibles like sawdust or paper shreds to cause reactive glazes to respond to the flames).
When I am sculpting, the work becomes a stream of consciousness between myself and the materials. My seasoned awareness of fundamental elements of design such as balance, positive and negative space, form and surface inform my process. My color choices are loosely inspired by elements of the color theory of Josef Albers (1888-1976). Once I construct a traditional pinch pot form I create a geometric line drawing around the lip of the pot which I then carve into a three-dimensional element.
The evolution of each piece’s design represents the historical evolution of a primitive form of pot making, the pinch pot, into a contemporary sculpture relevant to the modern era with influences of mid-twentieth century architecture and graphic design. I particularly enjoy the juxtaposition of the sharp geometric subtractive carving to the additive nature of the organic spherical form of the pinch pot body. My artwork represents a bridge between the idea of ceramic pots as utilitarian craft-made objects and ceramic sculptural pots as modern formal art pieces. My pieces invoke a ceramic origin story through technique while presenting aesthetics of contemporary design.
Many artists may shy away from divulging where in their process they find themselves intimidated, but I have learned to allow myself to let the previous stage of each piece inform my next design choice. I do not plan a pot from start to finish ahead of time, hence my attachment to the concept of “intuitive form.” Perhaps the most daunting stage of design for me is glazing my sculptures. I either raku fire or wood fire my work to finish it. I feel that these atmospheric methods of firing return each work to the primitive space from which it originated and allows me to glaze in a way that feels as intuitive as my carving process. When I am planning the application of color to the surface of a bisque fired sculpture, it is only a bare, uniform shade of light-cream colored clay. My Raku pieces have bold colors contrasted with sections of white crackle glaze and rich matte black sections. My wood fired pieces highlight the flow of the flame and simultaneously capture the falling ash of the kiln atmosphere as permanent evidence of a fire that once was.
I believe that my attraction to the concept and action of capturing evidence of the atmosphere in which a pot has been fired can be likened to my exploration of myself and the effects that various environments of my life have had upon my person as I exist today. There is a push – pull dynamic in the design elements of my work that suggests the sense of cause and effect that is a universal experience of humanity. I suppose I find some resolution of conflicting energies by creating a semblance of balance between all of the design elements as I complete each piece.
Gallery
