My work explores functional pottery, repetition and surfaces produced by atmospheric firing. I find myself returning to simple forms with organic lines and spontaneous moments. While working I fold, rip and stretch the clay in ways that highlight the plasticity of the throwing process. These moments ultimately juxtapose the hard nature of fired pottery. The use of repetition in form is apparent in my work. Repetition is produced by similarity, but it serves in accentuating subtle differences. Each pot should be different from the next – this is the process of investigation. It is indicative of exploring new forms and processes. I am drawn to clay because of the intimate physicality of the material, the communal nature of both the ceramics community and the wood-firing process, and finally the importance of bringing art objects into every day life. Functional forms are art in daily ritual – from my hand to yours – my work provides a direct link from the artist to the user. It establishes transparency. Furthermore, I believe hand made pottery evokes a tacit strength when paired with the din of our modern lives. I use a wood kiln to fire my work. Firing with wood allows for variability and creates a surface that can highlight spontaneous moments in form. While there is a healthy level of unpredictability in terms of the final product, it should be clear that each piece is placed in the kiln with purpose. Attention is given to the direction and proximity of the flame on the work. Wood kilns consume both time and energy, which is manifest in the pottery produced. It requires respect in the firing process, and trust for those working beside you. drew nicklas |
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