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| Version | User | Scope of changes |
|---|---|---|
| Jan 7 2010, 11:12 PM EST | highlandlit | 50 words added, 48 words deleted |
| Dec 31 2009, 10:41 PM EST | highlandlit | 1 word deleted |
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After becoming interested in clay turning at a young age, and discovering a greater ability for working with clay, a lifes work begins. ContinuingDeveloping to develop this interest with clay and it’s potential for expressing things of the world, and the artisticartist withinwithin, and itthat awhich closeis connectionundenied toas thea gift. Love"Love for the material, and its many mysteries brought Me to develop technical ability, and a talent to recognize visual balance in ceramic forms.forms". As a college freshman, Ed registering for classes, more of lifes' stages, and art in ceramics. Professor Elsner shared the basics for three dimensional visionrepresentation in sculpture. As a collegeAnd Instructor,professor, Alan Bennett helped Edward develop an observablea visual sense, and a technical skill to express ideas through clay. The adventures in unifying the traditional shapes of pottery, and vibrant animated characters dress the ceramic surfaces. They will always continue to be, the endeavor for this Creativity.
As a potter must first center the clay to begin, Edwards starting point is first centered to the treaty between theproperties clayof propertiesclay, and theunited in unityheart ofto a design withwhich allow the heartceramics ofto thosespeak, propertiesto whichspeak allowabout theorigin ceramicsand tohands, and its own tactile nature, and speak.flames. These recent pieces are new paths in Edwards ceramics, some are hanging and standing works, some traditional shapes and some altered.
These are new collections of thrown vessels, altered, surfacessurfaces, fromsome with a clear wet look, and clear, to segments which mirror like luster. They’re friends with, and express the true feel for the material, these designs complement the shapes that well. To a great extent; a potter is connected to the character of the material, because clay has a distinctive physical property, there are natural limits to how far clay will stretch. The same property which keeps clay within a center can also believably stretch its usefulness as a creative material, its tactile, and Edwards surfaces in these recent works communicate the natural and sense of place.
Ceramics works are greatly influenced by the flame and the effects of heat and kiln atmosphere landscapes and seascapes are commonly part of the story matter, and serve as references to the illusion of three dimensional space and his material along with artifacts and natural objects, paint a layer of light. Using the reflection of metal minerals, and other glaze characters within the micro thin layers of glaze can at times produce the most unbelievable prism of colors and the interaction, and overlaying of glaze, foster, they 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. Do exhibit something which is ephemeral in the rich variety of surface preparations, and gifts from the unique firing processes. Something nice about the deepness of the glazes and the heavenly colors.
The meat about my recent pieces was first explored in college the dynamic interaction between flat colors was a first look at one colors effects with the subjectivity. Many tangent approaches have come into my studies sometimes there have been work that extended experimentation but always return to this Idea of the marriage between dynamic actions…are characterizations as a landscape an interscape of an area between the human form and the plus and minus spaces of wide open expanses. The generation of some morale shift into the foreground space where interaction with the viewer cohereses and 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 potter must first center the clay to begin, Edwards starting point is first centered to the treaty between theproperties clayof propertiesclay, and theunited in unityheart ofto a design withwhich allow the heartceramics ofto thosespeak, propertiesto whichspeak allowabout theorigin ceramicsand tohands, and its own tactile nature, and speak.flames. These recent pieces are new paths in Edwards ceramics, some are hanging and standing works, some traditional shapes and some altered.
“ The spaces which a pottery piece lives in is very much a concern to me and sometimes
I will draw the area where the pottery goes, and the shape develops out of feelings and
relationships in color and distance I want to make sure that my works don’t cause
discord, and interfere with the space.”
Ceramics works are greatly influenced by the flame and the effects of heat and kiln atmosphere landscapes and seascapes are commonly part of the story matter, and serve as references to the illusion of three dimensional space and his material along with artifacts and natural objects, paint a layer of light. Using the reflection of metal minerals, and other glaze characters within the micro thin layers of glaze can at times produce the most unbelievable prism of colors and the interaction, and overlaying of glaze, foster, they 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. Do exhibit something which is ephemeral in the rich variety of surface preparations, and gifts from the unique firing processes. Something nice about the deepness of the glazes and the heavenly colors.
The meat about my recent pieces was first explored in college the dynamic interaction between flat colors was a first look at one colors effects with the subjectivity. Many tangent approaches have come into my studies sometimes there have been work that extended experimentation but always return to this Idea of the marriage between dynamic actions…are characterizations as a landscape an interscape of an area between the human form and the plus and minus spaces of wide open expanses. The generation of some morale shift into the foreground space where interaction with the viewer cohereses and 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.
