Artist Statement

2011- 2 Bodies of work:

As a functional potter, I enjoy the process of making utilitarian objects and the problem solving that it requires. I am intrigued by various making processes, and fascinated by one of a kind hand made objects.  Currently I am working on two bodies of work simultaneously.
The first body of work is wheel thrown, highly decorative wares. The surfaces and compositions are laborious to produce and I reveal the process by including the lines of the drafting layout.  In this work I use a variety of decorative methods such as: luster’s, china paint, underglaze pencils, mishima and sliptrailing.   I incorporate the use of stoneware and  porcelain suggesting both everyday use and  exclusivity for special occasions.   It is a play on high-end collectables verses folk pottery, where the end product is a combination of the two.

For my body of work titled “2 Minutes”, I set parameters and challenged myself to work outside of my comfort zone.  I begin a playful investigation in which I eliminate all decoration and shift the primary focus to the form.  For this body of work, I slip-cast cups and give myself a two minute time limit to alter them.  During this practice, I use a commercial production method and push its boundaries by altering the forms, making them one of a kind.  This investigation is somewhere in between design and pottery.  The making process is liberating for me because it is intuitive, quick, and unplanned and unlike much of my other work.  The result is a shape that is at once identifiable as a cup and unique in spontaneity of form.  The surface undulates with soft curves inviting the touch.  The crevices suggest the human body, leading viewers to associate freely.

Previous Artist Statement 2009

In my new body of work, I am making sets of functional porcelain dinnerware on which I draw patterns using various techniques. The patterns suggest wallpaper, women’s bodies, lingerie, or pure abstractions. They continue from one plate onto the next and from there they spill onto the tablecloth and climb up onto the wall. I move the pattern across all these objects to show how the subject surrounds us. I put it on dinnerware to literally and figuratively bring it to the table. I want to gently address the subject of women’s sexuality and the gendered roles that women play.

I see the wallpaper as a kind of figurative study of the female body, and in turn the flocking or decoration of the paper becomes a kind of clothing; a corset, or perhaps stockings. The imagery transitions from a two-dimensional pattern to a three dimensional tactile form onto the plates, where one can touch it freely, openly, and can hold it intimately in her hands. By metaphorically reducing this dressed up woman to an object she, a dish, an empty vessel, becomes completely submissive.

I am creating multiple layers of visual information through the techniques I use, including stamping, carving and slip trailing. I alter the thrown forms to resemble women’s clothing. The decorative elements inspired by wall paper, ornament, and architecture parallel the act of dressing up. I also use a variety of decals to highlight areas on my wares that reference wall paper. The glazes I use range from glossy and wet to satiny and smooth. The color palette includes pink and fleshy tones as well as bright eye-catching, eye-candy colors. It is my hope that my work becomes something more than a mockup of a table setting; it becomes interactive, alive, and informative.  I am interested in how one will respond to my creation of “traditional dinnerware” sets, where the viewer become inadvertently involved, even seduced.

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