Clay has an inherent invitation to manipulation. Its ability to move, stretch, deform, reform, bend, and break entices even the most sullen of characters. Its ability to take kinetic energy and reshape itself is magical. Fired clay reveals past transformations, it does so honestly and stalwartly, for all to witness. While some may choose to contain this manipulation within strict predictable geometric confines, I choose to embrace the record of kinetic action. My work exhibits my energy, movement and interaction with soft clay. The finished pots harken to their past pliable state.
Brushed texture, indented lines, pokes and dents distort functional forms to varying degrees. The smallest shallow surficial texture of fine lines drag varying energetic swoops leaving an initial ground tone. Similar, but consolidated, swoops, and larger indented lines surround the exterior leaving a deeper scar and undulating the form. Dents push as in to soft dough, their directional, almost gravitational, force drags the texture and indented lines toward the indentation. Looking towards that interior the forces are still visible, yet dulled by the transition from interior to exterior.
Whenever possible, I fire my pots in atmospheric kilns. The fire and vapors in these kilns tell more stories of force and manipulation. The fire and vapor pathways around the work are logically informed by the pots' own form, etched in visible trails. Dents may be glossed over, sheltered from the vapors. Indented lines may turn dark in fields of light, or guide rivulets of flowing glass made from melted ash terminating in a glassy bead. Outward swells may shield the downwind side, casting shadows on the sheltered areas. The atmospheric decoration is responsive to the form itself, and adds another level of narrative containment.
I, like many sullen characters before me, have been enticed by clay's ability to be manipulated. In manipulating clay, I produce a vessel for use, as well as capture the force, energy and movement of myself and the kiln.