DECEMBER 6, 2021 – JANUARY 30, 2022
The movement distilled into these pieces were unveiled while I was moving around them, almost dancing with the clay during the process. I could explore the pureness of what the clay had to offer so that the oneness of the process could be felt: movement expressed as a lingering stillness.
I have an approach that reminds me of working with fabric where clay has a movement around an empty space that could be a body. Treating it as such, I’ve been inspired to work with it very delicately, creating thin-walled sculptures that keep their roughness through their textures or glazes.
I pretty much feel that way working with clay. Invisible, light and so connected to the piece that the borders between body and clay fall away, rendering the soil an extension of my body.
I have a particular interest in the traditions of Japanese pottery, taking many of the forms and subtle decorations and translating them into my own work. I remain very drawn to the timeless principles of minimalism and que
I also desire to find the perfect balance between function and beauty; most of my work is therefore freely formed constructions. During shaping I tear, push, slash or pinch the surface to create an unexpected shape that defines the piece.
I spontaneously brush slips or use tools to alter surfaces. I often work on leather hard, I push right through the ceramic body sometimes tearing out pieces of clay and then “repairing” it behind so that a concave surface appears.
Generally uncolored, the sculptures maintain their natural tonality to reveal their pureness, sometimes lightly brushed with oxides on the rim to accentuate fragility and thinness.
Black also represents space, specifically outer space and infinite space. There is a mystery to things that can’t be defined, or seen, and the color black often accentuates anything with those mysterious or indefinable qualities.