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Working from "the everyday". |
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Comparing the ceramic work to cycles, I want my project to focus on cycles in a very broad term. In past works I’ve had time to explore and I used the freedom to explore to the extreme in my college courses. Looking at the cycles that appear to me, throughout my work so far supplies a thread which holds my past work together. Observing and understanding the world around and the part I might play, that’s a basis for intelligence, and part of the human condition. I want my project to focus on cycles on a very broad term.
I benefit from cycles of throwing clay, I set out my water, I have basic tools, I prepare clay and then center, open and pull a cylinder. All these steps I can move through, like listening to my conservation with the clay. I want my work to reflect and communicate in a way that is as easy and simple as having a favorite hat, a favorite mug and reflect on what might have to see in our future.
I’m asking for an artist residency because your place on the Oregon coast is unique. Being able to work there will help me be close to the interesting materials which I’m considering in my project; (the leaves and trees, the sea horizon, and elements right from the earth), unique to this area of the northwest, my surroundings always have a big part in my recent pieces. Definitely some inspiration is owed to following steps and observing, these cycles reveal clues within, that can affect my point of view, my future, and more broadly affect life in general. 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; the tactile nature of clay is so great for expression.
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 I feel that it would be a great service to me if I could have a chance to be involved in your program. The research part of my project involves the interesting surface that can be produced with alternative methods, and I want to contribute with groups of other potters who work with, low fire salt, sagger, raku, cone 6 glazes, and many other processes.
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. My artistic endeavor is to employ the complement and contrasts of surfaces which overlap, I’m trying to make these areas communicate and express from the clay surface, lots of times people ignore the overlapping areas and surface changes. Most of what I think comes from what’s around me and, I like to just draw what I see. When clay speaks for itself, when I can produce work that is more inspired by an experience, or a moment around me, it’s more acceptable, more believable to me.
I benefit from cycles of throwing clay, I set out my water, I have basic tools, I prepare clay and then center, open and pull a cylinder. All these steps I can move through, like listening to my conservation with the clay. I want my work to reflect and communicate in a way that is as easy and simple as having a favorite hat, a favorite mug and reflect on what might have to see in our future.
I’m asking for an artist residency because your place on the Oregon coast is unique. Being able to work there will help me be close to the interesting materials which I’m considering in my project; (the leaves and trees, the sea horizon, and elements right from the earth), unique to this area of the northwest, my surroundings always have a big part in my recent pieces. Definitely some inspiration is owed to following steps and observing, these cycles reveal clues within, that can affect my point of view, my future, and more broadly affect life in general. 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; the tactile nature of clay is so great for expression.
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 I feel that it would be a great service to me if I could have a chance to be involved in your program. The research part of my project involves the interesting surface that can be produced with alternative methods, and I want to contribute with groups of other potters who work with, low fire salt, sagger, raku, cone 6 glazes, and many other processes.
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. My artistic endeavor is to employ the complement and contrasts of surfaces which overlap, I’m trying to make these areas communicate and express from the clay surface, lots of times people ignore the overlapping areas and surface changes. Most of what I think comes from what’s around me and, I like to just draw what I see. When clay speaks for itself, when I can produce work that is more inspired by an experience, or a moment around me, it’s more acceptable, more believable to me.
