Sunday, October 31, 2010
As an artist there is always a sense of uncertainty about a work until it is complete, as if I know where I want a piece to go but constantly making changes as to how it gets there. I would like to think that without some understanding of a piece, a viewer would be confronted with something more ambiguous and abstract. I am drawn to clay as a medium because I find its versatility limited only by my own lack of knowledge.
Foremost in my work, and in the work of others, I enjoy seeing information en-masse. Be that dealing with a painstaking texture or repeating a form to the point of absurdity. We live in world where time, having to little or too much, is pushed to the forefront of many minds and lives, structuring and ruling them to some extent. To this end I am always shocked to see work in which a great investment of time is clearly evident. I find the repetitive process to be in some ways meditative, allowing for a different kind of closeness with a piece, an aspect to the piece the viewer is not always privy.
Outside of everything intended by an artist it is also of interest to me to see the unintended, less conscious inclusions by artists that let us learn even more about the art, the artist and ourselves.