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I really love moving clay around. I am fascinated by the changing moods of this medium. I approach the work as a dialog or a partnered dance, listening and following as much as directing. Most of my work starts on the wheel, but doesn’t stay that way. I just can’t leave anything alone, it seems. I strive to throw like a hand builder, and will work on a piece until it surprises me with its newness.
The work is mostly founded on utilitarian context (“teapot”, “lidded jar”, “bowl”, etc.), but often not restricted by usefulness. My teapots will pour, but in a strange way. My lidded forms will hold something, as will the bowls. I am more interested by the gesture of the genre, and am concerned with the “sculptural presence” of the object. (how the object takes up space as well as how it shapes the space around it). Surface treatment is directed in shaping the space within the space. Form and Surface: that’s what we have to work with.
I look to non-pottery sources for influence, and am drawn primarily to architectural (Asian, Greek, Pre-Hispanic American) as well as Chinese bronze forms. I find traditional Indonesian wooden boats to be among the finest forms ever made, and hope someday to make an object of such quality. Rarely are these influences used consciously. I prefer to witness, sublimate, and incorporate the images into the self of myself so that my heart and hands can do the real work.