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| Version | User | Scope of changes |
|---|---|---|
| Feb 24 2010, 12:46 AM EST | highlandlit | 17 words added, 6 words deleted |
| Dec 31 2009, 10:13 PM EST | highlandlit | 2 words deleted |
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I'm not sure how to open in, I want to describe the thought that has gone into some of my recent work. Maybe I can call it the method. Since I'm having trouble, I'll just jump in and begin; Being able to observe cycles, (by which I mean the occurrences which repeat), is an advantage for humankind,(all of us), it's a way to organize our surroundings, and it's a blessing that is widely considered unique. 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 change and adapt. Plainly life itself is a cycle which is enjoyable by the moment. Being able to focus on a cycle gives me perspective, whether it’s a childhood memory, or whistling a symphony. Definitely some inspiration is owed to following steps, and observing things repeated. This is a big concept for me, and I'm continuously thinking about how I'm connected to it in my ceramic work. 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 can affect my point of view, my future, and more broadly affect life in general. I respond to things that happen outside of the routines and steps, when something seems out of place I take special notice. I’m finding that I work in clay because it is my friend; I work with clay when I’m happy, or when I 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 my labors and my real life time can emerge on its own to reveal a higher Art, a higher meaning, andthe "Purpose beyond the defination of the piece",and the answers for my own persistence. There is emotion, all kinds of different feelings, that for the most part I could have only seen inwith the blacksteps-the andprocess of whitemaking, beforefrom clay to the finish firing.
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 residency session at the ecology center, and be able to contribute to this program, I contribute my time wholeheartedly. 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, I feel that being able to continue the 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 talent towards making of art, and conscious 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.
Another interesting topic is the separate area of art and that of ones real life, but I'll get into too much trouble, and be in a pretzel if I go into the philosophical side. That may be part of another post.
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 residency session at the ecology center, and be able to contribute to this program, I contribute my time wholeheartedly. 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, I feel that being able to continue the 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 talent towards making of art, and conscious 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.
Another interesting topic is the separate area of art and that of ones real life, but I'll get into too much trouble, and be in a pretzel if I go into the philosophical side. That may be part of another post.
