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Tag Archives: porcelain

Hybrid Cluster No.8

Hybrid Cluster No.8

The primary inspiration for my work is the phenomenon of living organisms in the natural world. In particular, my focus lies in representing life forms, or critical parts of those, which appear to be in some way suspended in the fluid and space of their environment. These forms are evolving, growing, and replicating their way through their existence, paralleling that of our own. By using the limitless potential of clay, along with other materials, the pieces explore these ideas. They reveal a pleasing convolution of organic form and surface through the manipulation, distortion, and combination of disparate yet related natural elements. At the same time, in illustrating nature through the imagery of animal, botanical, and cellular biology in this way, the work becomes otherworldly yet strangely and unnervingly familiar. My intent is for the pieces to exist in a space of seamless illusion on their own accord, unfettered by the handicraft of man. A merging of fantasy and reality in the work is meant to elicit a degree of tension, furthered by qualities of somatic sensuality and formal ambiguity. In my work, these attributes visually and metaphorically relate to the human condition, and help to evoke a visceral and emotional response to our experience of the living world around us.

Hybrid Flora No. 8

Hybrid Flora No. 8

 

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ABSTRACTIONS AND ASSOCIATIONS

Analogous Radial  - 44 diameter, colored cast porcelain

Analogous Radial - 44" diameter, colored cast porcelain

 

I see my work as an investigation of the form that thought takes through an investigation of form itself. This investigation stems from an interest in the structures of both the natural world, our own and how these structures influence the way we think. I have developed a system of forms that I combine in order to examine the relationships and patterns that occur through their formal interaction. This system is derived from three sets of constituent parts. Forms are cast from three sets of colored slips. Saturation of color decreases as the scale increases much in the same way that our understanding dilutes as we consider larger ideas. Color, pattern and texture are used to further delineate individual forms within a set. This construction is currently cast from blue (rectilinear), yellow (arch) and green colored slips (cylindrical).

Placing limits on the system that I use to produce my work allows me to investigate the patterns and models we develop to understand the world we live in. The number of forms in any constituent set allows for a finite yet immense number of possible combinations. These numerical limits influence the development of pattern in basic yet profound ways. For example, a radial pattern derived from one set seems to maintain harmony successfully when it is based on an odd number, and most successfully when that number is prime. A radial pattern that is based on two sets seems most stable when based on an even number. This allows for a balanced structure, and a symmetry that exists at a larger scale. I find this to be profound in its metaphysical implications. It models how complex pattern can arise from just a few variables and how these patterns can be modeled and combined to conform to a multitude of models.