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So great to be home
I'm not sure how to open in, I want to describe the thought that has gone into some of my recent work. Simple is the key here so I'll just jump right in.
Being able to observe cycles, (those pesky things which occur and seem to over and over), is an advantage for we humans, and what I consider basically unique to us on our advanced level. Observing is the way to organize things in our surroundings, and it's a blessing, imagine how it might be to make the same mistakes forever not realizing if there is a better way?
Whether it is a cycle of nature like passing seasons, or cycles in our own personal relationships. We learn to adjust, and even anticipate them, so we'll adapt. Plainly life itself is a cycle which is enjoyable by the moment. Being able to focus on a cycle gives perspective, whether it’s from a childhood memory, or whistling a symphony, there is beauty in how things fit together. Definitely I'm inspired by following the steps, and observing. It's a big concept for me, and I'm continuously thinking about how I'm connected, how I view my art world and my ceramic work compared to my regular monotony and chaos. I'm not sure if I could call it mundane, but it has something to do with paying the bills, or picking up the dry cleaning, making time for a trip to town, and etc. But these and many other routines and cycles reveal clues within them that affect my point of view, and the life experience. So I want to create I adjust observe readjust and basically try to keep it real, my future, and more broadly life in general, is the product, (am I right?)
I respond to things that happen outside of the routine, when something seems out of place I take special notice. I'm normally ready to listen for anything out of the ordinary. I put all this into my clay work moments of realization and the high and low points are reflected through subject matter. I’m finding that I work in clay because it is my friend; I work with clay when I’m happy, or angry, I can work with it when I just seek the answers to personal questions. I’ve always known, because of clay properties and processes that I’d be able to keep working in my artistic pursuit. What I most cherish is that something beyond myself, my labors, my life, something can emerge on its own, from a distant place to communicate some greater meaning. The "Purpose beyond the definition of the piece", and it answers for my labors, and all my own persistence. There is emotion, all kinds of different feelings, for the most part I'd say it's simple, what I struggle to explain just happens for someone; like if you have a bowl, and you like how it feels, love the color, and won't use any other. Just that simple!
My goal is to open a dialog that enables my art to speak with it’s own voice, in this way I don’t feel that it is a contradiction in terms to say things like (I’m returning to my first inspiration) or that a series of new pieces gets a start (from an earlier work), that may have failed once or be reworked. I want my works to reflect high standards of artistic thought and material quality, and feel that it would be a great service to me, and opportunity all around, if I could have a chance to be involved in your program.
I’d like to be considered for a session, and be able to contribute to this program. I contribute my time wholeheartedly, and work full time to get my work presented in a professional manner. Working with clay has always given me a chance to come to know my material, although there is always something new I can learn, I a
m gaining an appreciation for the character and cycles of clay. In ceramics there are so many different areas to explore, technically it can be very complex. I want this time to be able to improve and have outside suggestions. My trying to continue these personal process is in line with the objective goals of renewal and observation, a study of our personal place within our surroundings and environment. I respect my own talents towards making of art, and want to maintain the full commitment, my constant awareness is essential.
I get a lot of energy from found objects that can help with my own perspective,and I’ve put a lot of time into discovering materials; sometimes I’ll go and dig raw materials, or research common household products to use during an experimental sagger firing. The spontaneity of alternative firings is fantastic, a great way to express much about the clay itself.
I love so much being able to pick up a pot, the weight and balance of a clay vessel is so much a part of it for me. So through the exploration and observation of the raw materials I gain a recognition of character of each clay piece I make. Everything about it should work in a unifying way; from the materials, the process, the firing, and designs. My artistic endeavor is to employ the variations of surface which overlap I’m trying to make a way for these areas to express, and accentuate the clay surface. Most of what observe from my surroundings go into what I draw on, but I like drawing just what I see. When clay speaks for itself from beyond the humble marks and hopeful brushstrokes, it is more acceptable, more believable, and presented better than preconceived ideals and prejudices, which are often how real life is viewed.
Being able to observe cycles, (those pesky things which occur and seem to over and over), is an advantage for we humans, and what I consider basically unique to us on our advanced level. Observing is the way to organize things in our surroundings, and it's a blessing, imagine how it might be to make the same mistakes forever not realizing if there is a better way?
Whether it is a cycle of nature like passing seasons, or cycles in our own personal relationships. We learn to adjust, and even anticipate them, so we'll adapt. Plainly life itself is a cycle which is enjoyable by the moment. Being able to focus on a cycle gives perspective, whether it’s from a childhood memory, or whistling a symphony, there is beauty in how things fit together. Definitely I'm inspired by following the steps, and observing. It's a big concept for me, and I'm continuously thinking about how I'm connected, how I view my art world and my ceramic work compared to my regular monotony and chaos. I'm not sure if I could call it mundane, but it has something to do with paying the bills, or picking up the dry cleaning, making time for a trip to town, and etc. But these and many other routines and cycles reveal clues within them that affect my point of view, and the life experience. So I want to create I adjust observe readjust and basically try to keep it real, my future, and more broadly life in general, is the product, (am I right?)
I respond to things that happen outside of the routine, when something seems out of place I take special notice. I'm normally ready to listen for anything out of the ordinary. I put all this into my clay work moments of realization and the high and low points are reflected through subject matter. I’m finding that I work in clay because it is my friend; I work with clay when I’m happy, or angry, I can work with it when I just seek the answers to personal questions. I’ve always known, because of clay properties and processes that I’d be able to keep working in my artistic pursuit. What I most cherish is that something beyond myself, my labors, my life, something can emerge on its own, from a distant place to communicate some greater meaning. The "Purpose beyond the definition of the piece", and it answers for my labors, and all my own persistence. There is emotion, all kinds of different feelings, for the most part I'd say it's simple, what I struggle to explain just happens for someone; like if you have a bowl, and you like how it feels, love the color, and won't use any other. Just that simple!
My goal is to open a dialog that enables my art to speak with it’s own voice, in this way I don’t feel that it is a contradiction in terms to say things like (I’m returning to my first inspiration) or that a series of new pieces gets a start (from an earlier work), that may have failed once or be reworked. I want my works to reflect high standards of artistic thought and material quality, and feel that it would be a great service to me, and opportunity all around, if I could have a chance to be involved in your program.
I’d like to be considered for a session, and be able to contribute to this program. I contribute my time wholeheartedly, and work full time to get my work presented in a professional manner. Working with clay has always given me a chance to come to know my material, although there is always something new I can learn, I a
m gaining an appreciation for the character and cycles of clay. In ceramics there are so many different areas to explore, technically it can be very complex. I want this time to be able to improve and have outside suggestions. My trying to continue these personal process is in line with the objective goals of renewal and observation, a study of our personal place within our surroundings and environment. I respect my own talents towards making of art, and want to maintain the full commitment, my constant awareness is essential. I get a lot of energy from found objects that can help with my own perspective,and I’ve put a lot of time into discovering materials; sometimes I’ll go and dig raw materials, or research common household products to use during an experimental sagger firing. The spontaneity of alternative firings is fantastic, a great way to express much about the clay itself.
I love so much being able to pick up a pot, the weight and balance of a clay vessel is so much a part of it for me. So through the exploration and observation of the raw materials I gain a recognition of character of each clay piece I make. Everything about it should work in a unifying way; from the materials, the process, the firing, and designs. My artistic endeavor is to employ the variations of surface which overlap I’m trying to make a way for these areas to express, and accentuate the clay surface. Most of what observe from my surroundings go into what I draw on, but I like drawing just what I see. When clay speaks for itself from beyond the humble marks and hopeful brushstrokes, it is more acceptable, more believable, and presented better than preconceived ideals and prejudices, which are often how real life is viewed.
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Latest page update: made by highlandlit
, Jul 17 2010, 12:39 AM EDT
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