FORMAL AESTHETICS

It is about the truth of the pot and its condition as a vessel's implicit contrivance to hold. My work is presented in a manner to address space. As the pot is defined as a constrained space I must show the viewer another form of that delineation. The abstraction of the vessel is to assign meaning to that condition of containment, altering from the purpose of holding matter to crafting ideas held by the pot. 

Every action in clay is remembered, held and displayed. I do not hide marks; I welcome them not solely as an indicator of process but as a truth of the object. The surfaces are terra sigillata, a refined clay that emphasizes this history and adds to it through physical manifestations of gravity through drips. Fingerprints are left behind as shadows and truths. Processes and materials are still raw juxtaposed against them in final form on my pots.  

Vessels are self referential; in my belief to be a pot is to refer to the history of pots. Vessels made to have visual impact, perceived as elegance set in space. Decisively positioned to connect the past and present. Simple in their complexities and loud in their subtleties. They ask me more questions than I have answers and challenge my notions of looking. Pots repeat, in language and ideas, cyclically like they are formed, readdressing ideas from history anew. These are my attempts with my pots, jockeying for space amongst the larger historical cannon prioritizing aesthetics and context as concept.