My work is an investigation of the symbols, people, and objects that have affected my perceptions of growing up, my subconscious, and real life experience. I approach art making as research into thought, memory, and play. It is a study of metaphor through fantasy and authenticity. The ceramic medium is a vehicle for this investigation. Clay, like no other material, can be shaped, formed, printed, or drawn upon to take on any likeness that the artist desires. I enjoy its tactility by cutting and incising, ripping and tearing edges to reveal its natural characteristics. I enjoy the construction of clay objects and investigating surface through slips, glazes, and imposing screen-printed images. And to fire them, fusing and making permanent these surface manipulations. This process, the ceramic process, is integral to my research. Making and firing, firing and making, the ongoing cycle of working with ceramic materials and the investigation of artistic ideas.
Pages is a recent series of works whose imagery is derived from family photos. Using these photos as a starting point, the wants, needs, and issues of relationships are explored through a combination of text and symbols that represent a personal association with the people in the pictures. Sometimes the surrounding images are specific to a particular person and at other times more universal in its use. The text is taken from journal writings and written responses to the photographs. I have chosen to make drawings from the photos rather than use them directly for the screen-print process. This gives the work a sentimental tone that I feel is part of the strength of the series.
Interdisciplinary, my work is driven by the physicality of material and the boundaries between two and three-dimensions. As a ceramist I honor the traditions of ceramic art history and vessel making, while, as an artist, I am invested in the cognitive spaces of expression. I seek the mastery of materials and processes and to present them with contemporary awareness. To allow myself the freedom to engage in an artistic practice that is limited only by financial or physical boundaries.
Closely related to the work in the Pages series, my sculptural/installative works are another way to explore relationships and memory through artistic expression. The animals are characters based on the childhood memories of cartoons and storybook illustrations. When the characters are paired, they speak of a reflection upon a personal relationship with a friend or family member. While presenting a single figure represents a reflection upon one’s self. The pylons in the later works represent caution, an attempt to protect one’s self while reconsidering the choices one makes. Through image, space, placement, and sometimes sound, these works explore both cognitive and physical space.
My portfolio is divided into separate bodies of work. These bodies of work are often created in series, such as the Ambush series, where functional works are produced utilizing screen-printed imagery derived from photographed arrangements of toys at war. As with the other series, these pieces are a way of exploring the memories of childhood. In this case, the tableaux are reflections upon the boyhood experience of playing with plastic army men. As a child the objects are innocent playthings of fun and freedom, while as an adult they’ve become matter of question and reason. Moreover, the images are created through what I consider recreation; Playing and having fun with the arrangements of objects and images, writing in the reflections of being a kid. Placing an emphasis on the enjoyment of the process while using the vessel as practice of technical skill and exploration of form.
Lastly, my pottery is an extension of my teaching and research. I use pottery making as a way to instruct and demonstrate the ceramic techniques of forming, glazing, and firing. Process provides a basis for investigation and practice. While a deep appreciation for ceramic art history is presented through demonstration, documentation, slide lectures, workshops, and collection. This work represents a continued passion and desire to uphold the artistic merit of vessel making and the time-honored practices of ceramic traditions.
Pages is a recent series of works whose imagery is derived from family photos. Using these photos as a starting point, the wants, needs, and issues of relationships are explored through a combination of text and symbols that represent a personal association with the people in the pictures. Sometimes the surrounding images are specific to a particular person and at other times more universal in its use. The text is taken from journal writings and written responses to the photographs. I have chosen to make drawings from the photos rather than use them directly for the screen-print process. This gives the work a sentimental tone that I feel is part of the strength of the series.
Interdisciplinary, my work is driven by the physicality of material and the boundaries between two and three-dimensions. As a ceramist I honor the traditions of ceramic art history and vessel making, while, as an artist, I am invested in the cognitive spaces of expression. I seek the mastery of materials and processes and to present them with contemporary awareness. To allow myself the freedom to engage in an artistic practice that is limited only by financial or physical boundaries.
Closely related to the work in the Pages series, my sculptural/installative works are another way to explore relationships and memory through artistic expression. The animals are characters based on the childhood memories of cartoons and storybook illustrations. When the characters are paired, they speak of a reflection upon a personal relationship with a friend or family member. While presenting a single figure represents a reflection upon one’s self. The pylons in the later works represent caution, an attempt to protect one’s self while reconsidering the choices one makes. Through image, space, placement, and sometimes sound, these works explore both cognitive and physical space.
My portfolio is divided into separate bodies of work. These bodies of work are often created in series, such as the Ambush series, where functional works are produced utilizing screen-printed imagery derived from photographed arrangements of toys at war. As with the other series, these pieces are a way of exploring the memories of childhood. In this case, the tableaux are reflections upon the boyhood experience of playing with plastic army men. As a child the objects are innocent playthings of fun and freedom, while as an adult they’ve become matter of question and reason. Moreover, the images are created through what I consider recreation; Playing and having fun with the arrangements of objects and images, writing in the reflections of being a kid. Placing an emphasis on the enjoyment of the process while using the vessel as practice of technical skill and exploration of form.
Lastly, my pottery is an extension of my teaching and research. I use pottery making as a way to instruct and demonstrate the ceramic techniques of forming, glazing, and firing. Process provides a basis for investigation and practice. While a deep appreciation for ceramic art history is presented through demonstration, documentation, slide lectures, workshops, and collection. This work represents a continued passion and desire to uphold the artistic merit of vessel making and the time-honored practices of ceramic traditions.
