My art values the synthesis of creative problem-solving with organic, three-dimensional functional pottery. My motivation is to privilege the act of creation over the finished product. For me, only pots that reflect this creative process and its risks are successful. A beautiful pot is a risk; at any stage in the process from the wheel to firing and finally to viewing, there must be no guarantees of its outcome.
As a child, I was always interested in art, or more accurately, the process of creation. I was attracted to the idea of building something from what I found in my world. In addition, those things that I endeavored to build generally reflected what was tangible or could be utilized in some meaningful manner. Coming from a family of modest means, creating something that was useful and yet also imbued with aesthetic properties spoke to my fundamental understanding of the world.
I enjoy the challenge of envisioning the efficient functionality of a vessel while also encouraging its transcendence as a piece of art. In particular, I value pieces that speak to me of my own efforts, representing the successful outcome of previously failed approaches which have enabled me to learn new tactics through a process of revision. Each piece forces me outside of my comfort zone, destabilizing my preconceived notions in preparation for a creative act.
I enjoy creating functional work that departs from the norm of clean and concise lines and shapes. For me, vessels that impart a sense of movement through variation in shape and line are more visually exciting than their more or less uniform counterparts. Creating vessels in this manner provides me the unique challenge of focusing on the creative aspect of design, not preconceived notions of perfection. Aligning with this practice, I also feel that the firing methods I prefer also increase the value of interest for any final creation. Atmospheric firings create another challenge, as the creator cannot completely control the final outcome of the piece. I am attracted to this certain element of chance, for if the finished piece is really quite impressive, it endows the pot with a higher aesthetic value because the outcome is a synthesis of my own efforts and the sheer randomness of nature.
Successful pieces avoid predictability, and despite similarities, cannot be replicated. When I view my finished work, every side displays irregularities and "imperfections" in the variation of shape, line, texture, and color, all of which complement each other and culminate in something that is unique and compelling. At first glance, the viewer will perceive not the whole story but an enticing fragment of it. With each turn of the pot, the viewer discovers his own perception of its beauty and function.
As a child, I was always interested in art, or more accurately, the process of creation. I was attracted to the idea of building something from what I found in my world. In addition, those things that I endeavored to build generally reflected what was tangible or could be utilized in some meaningful manner. Coming from a family of modest means, creating something that was useful and yet also imbued with aesthetic properties spoke to my fundamental understanding of the world.
I enjoy the challenge of envisioning the efficient functionality of a vessel while also encouraging its transcendence as a piece of art. In particular, I value pieces that speak to me of my own efforts, representing the successful outcome of previously failed approaches which have enabled me to learn new tactics through a process of revision. Each piece forces me outside of my comfort zone, destabilizing my preconceived notions in preparation for a creative act.
I enjoy creating functional work that departs from the norm of clean and concise lines and shapes. For me, vessels that impart a sense of movement through variation in shape and line are more visually exciting than their more or less uniform counterparts. Creating vessels in this manner provides me the unique challenge of focusing on the creative aspect of design, not preconceived notions of perfection. Aligning with this practice, I also feel that the firing methods I prefer also increase the value of interest for any final creation. Atmospheric firings create another challenge, as the creator cannot completely control the final outcome of the piece. I am attracted to this certain element of chance, for if the finished piece is really quite impressive, it endows the pot with a higher aesthetic value because the outcome is a synthesis of my own efforts and the sheer randomness of nature.
Successful pieces avoid predictability, and despite similarities, cannot be replicated. When I view my finished work, every side displays irregularities and "imperfections" in the variation of shape, line, texture, and color, all of which complement each other and culminate in something that is unique and compelling. At first glance, the viewer will perceive not the whole story but an enticing fragment of it. With each turn of the pot, the viewer discovers his own perception of its beauty and function.