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 My technical accomplishment will involve the blending and design work with the physical properties of new glazes I've been calculating, and I hope they may approach a seamless appearance for compositions, involving figurative images, and blocks of color. While recovering from the second surgery on my wrist., I discovered that flattening sheets of clay didn't bother me as much as working with a downward pushing force required for centering on the potters wheel, and I started using different thickness of flattened clay to produce ripples over some suggestion of a volume, likely a figurative or life like image. I'm intrigued by the transition, and have always considered the overlapping area of a glazed ceramic pot to be a place where I should observe, as an area of spatial potential. |  Staying on this page, I'm working on 20 large pieces for hanging, I'm happy about these recent pieces, and I'm watching how they will work together in a show. Textural composition, and the design of wood-fired elements have always been captivating to an audience. The surfaces are charged with visual interest and aesthetic vocabulary. It is very important to me, that I envision how my work will interact with their surrounding. I considered them all as individuals, unique, and pay particular attention to how each will occupy its own space. I can get that kind of perspective by making many sketches of changing scale, and lighting, before I even begin working on a piece of clay. | ![[Untitled]](http://image.wetpaint.com/image/1/fCmKTD3vilDfyZOEsqva_A112590/GW266H164 "[Untitled]") I want to devote myself to this ambitious project whole heartedly, it is hard to drop it and interruptions haven't been useful at all, this is why I ask for your interest in this quest with me so I can combine needed resources along with research and results I've been fortunate to gain. I have focused on the areas which can develop the transition of colors and textures so they'll help me develop what my ceramic vessels will communicate. I've incorporated many element series, because of the space available in a kiln, a firing series is between 16-22 pieces that concentrate with a single idea). Each of these is a product of it's own spark, none are added on as an after thought, or reworked copys of old work. It isn't a contradiction for me to say that I incorporate elements of another series, and that each work is a product of its own inspiration, a beginning and a finish. I always try to connect some elements though, I have set up as points where my work can find its center. That way I enjoy the perks of having a routine to follow (the technical skill needed to turn vessels is filled by routine and repetition, but that frees my work, rather than confining it), the work enable that which is subjective, to show through, in my art. |
 I'm very happy with how these new works are finally coming out. I've worked through difficulties, and all kind of tough conditions with ease. The financial requirements for my work has been one obstacle, and I'm learning as I go along, to continue creatively. I can't forget all the contributions from teachers and friends, and many very knowledgeable people. So far my research has taken many kiln firings, and the pragmatic parts which apply to my work seem to melt into the time intensive processes. I'm very happy that I'm exhibiting concerns toward what is unique and creative artistically. So far what I owe for sustaining me all along, is the sheer amazement that I have for this material, its processes, chemistry, and beauty. It's truthfully been a breeze for me to go on day after day. That amazement, and a sense of humor are what get me up in the mornings, and keep me awake late into the night. Clay is a tactile material, and expresses character about its own nature, I think that it needs to be touched and lifted, to enjoy the volume and balance, much different that a completely visual experience. I always feel that no matter my personal situation, whether I'm happy, or angry, or searching for a new inspiration, that I could always keep working and often find support. It's a material that can speak of, flexibility, strengths and weaknesses, and it presents the artist with those natural limits. How the artist reaches this challange, communicates many things about the artist too. |  Type your photo caption or credit here. | Type your photo caption or credit here. |
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highlandlit |
Latest page update: made by highlandlit
, Jul 17 2010, 1:05 AM EDT
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