New Artist Statement
Here is my new and improved artist statement. Even though you can just link to it, I thought I would put it out here front and center. Feel free to comment on it!
I draw lines by dissecting and then immediately reassembling each pot. The result is a surface decoration with structural implications. Lines seen on the exterior coincide with lines found inside, as each line is in fact a seam, a scar where it was once severed. There is a dichotomy of strength and fragility. The fault lines that decorate the surface threaten to, but do not actually undermine the vessel’s ability to contain, display or deliver.
This method of making fulfills my desires to develop a virtuosic touch in clay. When pieces are dissected for decoration, I am able to get an intimate view of my forms. The precise knowledge of pottery cross sections is rarely known by most potters, but mine are constantly viewed, critiqued and refined. I truly know my work inside and out. For me, all parts of a work of art must be considered. Pottery is a more interactive variety of art than most. It is held, used, washed, and handled. The interior should be as well considered as the exterior. The underside of each piece must have the same allure as the lip. It is my conviction that craftsmanship be paramount that drives me to these intensive and challenging processes. Working in an almost scientific way, new pots are made in a search for truth, accuracy in expressing my aesthetic ideals. I see each piece as an individually considered object, the outcome of an experiment in the making of beauty.
Currently, my formal choices are influenced by botanical references. Starting with just the vague notion of various plants, I create idealized and stylized renditions of leaves and flowers, controlled and chosen primarily by the intended utility of the vessel. Certain patterns lend themselves well to certain forms. I try to listen to the material when determining this. Structural failure in the drying and firing tell me to find new solutions. I do not work towards a unified pattern, proportion, or style, but rather a universal rightness. I know a work is successful when it makes me smile just to look at it. This is the tuning fork for my aesthetic calibrations.