The spring semester brought a change in mentors from Tim See to Chuck Stigliano.

The same day we had the fall review, I headed back to the studio. I had in my head a different way to work with the geometric sculptures I had been working on. I started with a solid form instead of hollow.

 

 

I took that form and twisted and turned it to break beyond the barrier of the expected, into a much more gestural and lively place. Below is that form.

 

 

 

 

 

 

 

 

From here there were some failures in trying to sort out how to expand on this idea…and figure out exactly what this idea represented. (See three images below)

What am I trying to show? What does it mean? Why am I making this? What is driving me? Why does this one feel unsuccessful and another triumphant? What is leading these decisions?

 

 

 

 

 

 

 

 

 

Everything I create has become part of my yoga and meditation practice. If my mind is not focused, the form is disjointed, choppy, lacks fluidity. Each line and curve has a purpose; a means for going from here to there, always and forever moving forward and around.

 

 

The sculptures I create show a continuous flow from one place to the next, around and back again. It is almost always a never-ending cycle. This can be experienced with the eyes but it’s best done with the hands. Roll one around over and over. Get lost in it. The forms are similar in some ways but each is unique. I love spirals and how we can tunnel in or out with them. It’s all in the viewer’s perception. Is the glass half empty or half full?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While the forms did start to become more articulated, I found this path to be too “busy”. It is interesting to hold but the ones I find most successful are the ones that the viewer can follow the lines and the lines, forms, and flow make sense.  From here I went on to make a larger, much simpler piece to help me understand my own goals.

 

 

 

 

 

 

This is the first larger piece. It is also the first one to have a specific direction. There is a bottom. There is a top.

 

In the end, the forms I really enjoy the most that speak from my insides, are the more complex and compact ones. I do have a few that are in the works but I am also moving forward with the exploration of larger forms. The form below is still very rough.

I am also experimenting with different base shapes. This particular one, still in progress, is taking on an almost human shape. Again, there is a direction but if it is tipped on its side, there is a large spiral as a reward for curiosity. It’s not refined enough to show yet!

I am also looking at experimenting with alternate atmosphere firings. I was able to get one little piece into a soda firing at MassArt and the majority of the pieces which are pictured above will be getting the same treatment. The earthy effect is the perfect way to finish these. I will also be trying obvara raku firing this summer. I’m looking for a contrast that will accentuate the forms in a natural way. The wood firing of a piece or two may happen also. Loads more to come.

 

 

 

 

 

 

 

June 2021 I made some tiles that I find interesting because it is revisiting an inspiration that has popped up several times over the years. Trees at dusk.

The first piece, c2001, is papier mache on canvas and is 36″ x 36″.  The second is my first attempt at this idea using clay.  The most recent are 4 x 4 tiles.