I think there is a certain degree of modesty associated with Ceramics. Perhaps it comes from our history as vessel makers. We admire historical ceramics for the restraint in both construction and design. This restraint becomes part of the standards for which they are admired - smooth surfaces, evenly thick walls, proportions that relate to utility and reoccur in nature.
I continue to find inspiration in these vessels as profound sculptural objects whose forms are both stately and yet so relatable to our bodies. In this current series titled “Immodest Constructions”, I use historical shapes borrowed from various cultures as a departure point to create forms that relate more directly to the body. Though inspired by historical ceramics, these forms lack the attributes of the vessel. They are not hollow but heavy, and constructed in multiple parts. The surfaces are lumpy and complex- some are taut and bulbous, while others are delicate and saggy.
The degree to which the historical reference is recognizable varies in each piece, but like the body, it is the skeletal structure that supports a heavy, beautifully imperfect form.
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