Memoriam I

Untitled II

Untitled I 

In the broadest sense, my art is rooted in the connection of man and nature that humanity has so often overlooked. Having been raised in a strict Catholic home, I recall a verse from the book of Genesis: “Remember thou art dust, and unto dust thou shalt shall return.” (3:19) I suppose that this quote best personifies my recent explorations in clay— Thinking of the media not as mud, but rather as a living thing, as a part of myself, connecting my existence in this world to the existence of others and of the earth. I feel a certain oneness with clay that drives me to believe in an interconnectedness that spans from the smallest atom of soil to the largest animal. My work follows this philosophy in the areas of concept and process in the hopes that those who view the artwork will experience my own feelings and emotions about existence through interaction.

As such, all of my work utilizes textures inspired from nature— primarily plant life and water, the two sustaining elements of the life cycle. I carve, alter, add on to, and change my forms to mimic plant life, fusing the textures with the fluid movements of water to create pieces that seem to have elements of life within them. The transformative power of fire in the kiln gives the pieces a rebirth of sorts, as glaze adds organic color and vivacity to the pieces as well. The mystical homage to nature that is made through my creative process leads to an organic shape and feel in everything I create.

The tactile nature of my work is incredibly important to me, as it is through this experience of touch that I create, and the same experience that assists my viewers in understanding the work itself. In order to facilitate the vital experience of touch, I prefer to create a form that looks less familiar upon first glance, but sparks curiosity in the viewer, making them want to approach the object. These pieces are easy to hold and utilize, giving the handler more familiarity with the object and its function upon interaction. It is through the viewer’s experience with the art that I hope to achieve a sense of curiosity and acceptance about nature, and an active realization of the relationship of life, death, and rebirth, and a coming to terms with the philosophy of human interconnectedness with nature.

Pitcher

2009

Kiln-Fired Stoneware

9’x7’x6’

This piece was originally thrown as a large pitcher on the wheel, then subsequently smashed, altered, and subtracted from with a loop tool. This process led to an almost leaflike shape in the neck and lip of the pitcher, and a stout, stumplike form for the belly and foot. The piece itself has multiple folds and indentations that allow for comfort when holding and pouring, and the hatched texture alludes to wood on the outside, while the green glaze on the inside changes the similar texture into more of a xylem/phloem sort of allusion.

Vase

2011

Kiln-fired Stoneware

4’.2.5’

This small vase was more of an exercise in practicality and utility, as a way of seeing if I could still achieve the same aesthetic that is characteristic of my art without adding or subtracting from the form overall. I threw a small vase form on the wheel, trimmed it, and added a couple handles on either side of the belly, adding a little texture by keeping the joining marks on the handles. The drips of glaze allude to water (as most of my pieces do) in both shape and color as they drip down from the lip, emphasizing the life-carrying force of its contents.

Still

2010

Styrofoam, Hardware

2”x1.5”x4’

Meditating once more on cells and systems and parts of the whole, I decided to create a piece that had no function, but still reflected the idea of many parts coming together in commonalities. I was thinking a lot about sea urchins, and the interesting negative spaces their spines create. It reminded me of  mines actually, and so I decided to wed the ideas of nature and industry together in this project, creating something that I would not have otherwise.

Crude

2010

Cardboard, Wire, Wire Mesh, Bristol

3”x3”7’

A fully functioning mobil, I built this during a design challenge (1hr, 20 min) out of wire mesh, bristol, and some items I found in a dumpster.  The objective of the challenge was to create a piece that moved when influenced by a natural force. I later spray painted the piece black to give it a sense of uniformity while still retaining its rough appearance.

Carousel Book

2010

Bristol, Paper, Mixed Media

14’ diameter

This project was and assignment from my three-dimensional design class. Inspired by the rave culture, each page panel displays a tableau that interprets one part of the Raver’s Credo: P.L.U.R.R., which stands for Peace, Love, Unity, Respect, and Responsibility. The book itself, when opened, is roughly 45 centimeters circumference, but when it is shut, it resides in a small wedge-shaped sleeve that accentuates the cover art.  The project was more of an exercise in precision and workmanship quality for me, but the message within the text is something I try to live by, and it was the reason I chose to include it in my book. This is the way all of humanity should treat one another, with peace and love for we are all united, and respect for others differences, and the responsibility to spread the positive message and follow through with these laws of life every day.

Pitcher and Basin

2009

Kiln-Fired Stoneware

9’x5’x11’

Initially thrown on the wheel, I altered and added onto the form to create something that alluded to a water bag made of animal skin.  The outer form is smooth and covered with an oxide wash to achieve this effect. Creases and indentations, accented with glaze begin at the spout of the pitcher and flow downward to the base to allude to the liquid contents of the form. The handle flows out from the upper portion of the pitcher in a similar fashion.