Perspective, Context, and Relativity
‘look’ with the intent of
perceiving the artistic elements of what I am viewing rather than the
intellectual dissection of information. To that end, I want to be moved and
inspired, and respond to the potential of experiences I encounter.
approach the process of making
as a creative process giving myself the freedom to improvise, or run with an
idea and see where it takes me, to keep the work alive and evolving. If I do not
approach my work in this way, then the work stagnates and will precipitate the
beginning of the end, which leads to a slow death.
I am interested in
making my own work more fluid. This may be the result of softer clay, or more
spontaneous forming techniques: less attention spent on technical perfection and
more time spent on understanding the ‘wholistic’ approach to concept,
material and process.
the wood fire genre, the romanticism of the firing effects often dictates or
overshadows the other aspects of the work. But actually, the material and
forming process, as well as surface color and texture must be compatible. The
firing alone cannot make up for weaknesses that may exist in either the clay
character or forming process.
I respond to the
beauty that exists in the imperfections of Nature; a sense that perfection as we
know it does not necessarily equate with beauty, that in actuality, beauty
exists. It is for us to behold, discover and expand our vision to appreciate
a beauty that exists outside of a predetermined western perception.
A torn leaf, a twisted branch, a crack in a wall, it is all about
perspective and perception.
When related directly to ceramics, I think of these
terms as dimensions or layers. Even cracks in clay can be a dimension of
beauty depending on how they relate to the other aspects and qualities of the
piece in question.