Sign in or 
Share this
e
After becoming interested in clay turning at a young age, and discovering an ability for excelling in clay, a lives work begins. Developing my interest with clay, and it’s potential for expressing things of the world, the character of the material, and simply the gift when something is starting to work. "Love for the material, and its many mysteries, brought Me to develop technically, and a little of my own talent, to recognize a visual balance in ceramic forms".
As a college freshman, registering for classes, and art in ceramics, was my first priority. Even before my first semester I spent the summer working in the new art labs, Professor Elsner shared the basics for three dimensional representation in sculpture. And professor, Alan Bennett helped me to develop a visual sense, character in the work I'd produce, and a technical skill to express ideas through clay. I really owe much thanks to him for the patience and the lessons he shared to teach me. The adventures that I've made of unifying pottery shapes, and vibrant colors, animated characters, and different ceramic surfaces. They will always continue to be, my endeavor for a quality and Creativity.
As a potter must first center the clay to begin, a starting point is first to center my ideas and focus to the properties of clay, and unite design elements which allow the ceramics to speak, (a magical moment,when the separate parts work together), about origin and hands, the tactile nature of materials, and the flames which make clay into a lasting permanent object. The recent pieces are new paths developing for myself and my ceramics, some are hanging and standing works, some traditional shapes and some altered.
Ceramic works are greatly influenced by the flame and the effects of heat and kiln atmosphere. Landscapes and seascapes are commonly part of the story subject, they're a reference to the illusion of space and I try to get this to complement the round shapes. tactile material, along with artifacts and natural objects, get used to paint a layer of activity and action. Characters within the micro thin layers of glaze can at times produce narration for the prism of colors and overlaying of glazes, give the substance to work with the illusion of three dimensional space on the surface, that is the goal to draw the viewer, and create involvement between the audience. The interactions that a three dimensional project has with an environment through the surface, form, color etc. are the splashes of life, the ephemeral quality, the surprises which breathe life into the works, the balance between material, sources, and rich characterizations. This happens something which is a subconscious and of a passing moment, rich in potential.
The meat about my recent pieces, (I first found in college), is the dynamic interaction between flat colors, a chance to look with subjectivity. I'm trying to use the flat color that I get with glazes to have a dynamic effect, and interact with the pottery forms that I produce. When I look at a landscape, I can see to the horizon, or the shadows, looking around the sides for clues about the whole dimensions, and I can show that kind of details with glazes, for the viewer an inter-scape of area between the forms, and the negative space. And generating some interaction with the viewer holds the interest. My very early color plate explorations were done in the spirit and passion of someone attacking a canvas inspired by the brilliant colors of the landscape, colors reproduced in the colors of glaze tests at school.
As a college freshman, registering for classes, and art in ceramics, was my first priority. Even before my first semester I spent the summer working in the new art labs, Professor Elsner shared the basics for three dimensional representation in sculpture. And professor, Alan Bennett helped me to develop a visual sense, character in the work I'd produce, and a technical skill to express ideas through clay. I really owe much thanks to him for the patience and the lessons he shared to teach me. The adventures that I've made of unifying pottery shapes, and vibrant colors, animated characters, and different ceramic surfaces. They will always continue to be, my endeavor for a quality and Creativity.
As a potter must first center the clay to begin, a starting point is first to center my ideas and focus to the properties of clay, and unite design elements which allow the ceramics to speak, (a magical moment,when the separate parts work together), about origin and hands, the tactile nature of materials, and the flames which make clay into a lasting permanent object. The recent pieces are new paths developing for myself and my ceramics, some are hanging and standing works, some traditional shapes and some altered.
“ The space which a pottery piece of mine will occupy is very much a concern to me. Sometimes I will try to imagine an open area and try to draw the ceramic peice in the area with cahnging light. I get the shape from what develops, from the light and dark, from the space, relationships in color and distance, and from my feelings for area. I want to make sure that my works will interegate well with the space they will occupy.”
The meat about my recent pieces, (I first found in college), is the dynamic interaction between flat colors, a chance to look with subjectivity. I'm trying to use the flat color that I get with glazes to have a dynamic effect, and interact with the pottery forms that I produce. When I look at a landscape, I can see to the horizon, or the shadows, looking around the sides for clues about the whole dimensions, and I can show that kind of details with glazes, for the viewer an inter-scape of area between the forms, and the negative space. And generating some interaction with the viewer holds the interest. My very early color plate explorations were done in the spirit and passion of someone attacking a canvas inspired by the brilliant colors of the landscape, colors reproduced in the colors of glaze tests at school.
|
highlandlit |
Latest page update: made by highlandlit
, Apr 25 2010, 8:33 PM EDT
(about this update
About This Update
Edited by highlandlit
49 words added 35 words deleted view changes - complete history) |
|
Keyword tags:
no
More Info: links to this page
|
There are no threads for this page.
Be the first to start a new thread.
