Artist Statement My work is inspired by the fusion of traditional pottery form, geology, and technology. The results often have zoomorphic proportions and evidence of a semi-mechanized creation process. Human geography sparks a poetic visual dialogue in my mind concerning that which we create, and that which creates us. I express my ideas through the symbolic value of clay vessels in hopes they will subtly speak for themselves. Like a folk artist or traditional potter, I am interested in using materials from my environment. I’ve collected and experimented with clays and sediments from places I lived for about ten years and have found that certain materials used in their unprocessed state allow for the most potential and special “flavor” to be added to my work. The wood-firing process brings new life to the clay as well, it is unpredictable and I welcome the dynamic results. Since I collaborate with fire, my own embellishments must work with the energy and minerals released by it. I am fascinated by the mysterious aspects of matter and energy that are in constant interaction around me, especially during the creation of my art. In order to capture a bit of this interest, I often leave my pieces ambiguous or open for interpretation. Someone who sees my work will inevitably extract any variety of messages from it regardless of accuracy. Therefore, the meaning they give to it becomes the reason for its existence. I salute the well-established relationship between humanity and ceramics, not only in the arts and crafts, but in modern and ancient technology and communication. Considering all this information, there is a profound sense of self-awareness while I contemplate the design of vessels whose parts are called mouth, lip, neck, shoulder, belly, and foot. |


