a bunch of bowl

Just a little look at some bowls I've been working on. Oddly enough, I'm still finding ways to change the appearance of each bowl, most recently by stacking. 

process, progress, production

Here is just a little glimpse into how I've been creating the most recent pieces. They are quite a bit larger and more difficult to move, but I'm enjoying the contrast they have to the paper thin

bowls I've also been working on. 

the light show

Alrighty. Same bowls, different location. Our ceramics class decided to put together a show to start off the new quarter, all with work that revolved around the word 'light.' I decided to make a pile of bowls as though they had fallen. Squishing them together in a haphazard manner. The opening was lovely and was a great way to start off spring quarter.

no thanks, I'm not hungry

The end of last quarter allowed for the fine art seniors to practice methods of installing their work in a gallery in anticipation for our final thesis show at the end of the year. This really allowed me to see the amount of work that I've been keeping on my shelves in the studio, as it was nice to see them all laid out together. As I had been experimenting with the possible inclusion of color, it came as a pleasant surprise to see this sea of subtle tones thrown about the floor. I reached my short term goal of 60 bowls, but am excited to make more than double that this quarter.

preliminary test

My work over the past few months has centralized around the idea of function, obscurity, and process. As I began working with these bowls, I have been examining the functional properties of how bowls are used and turning that around to the point of destroying their intended purpose. I find, ultimately, that the ability to change one form so drastically and in so many ways is how I work through a process of making. My emphasis on obscurity lies in the shift from an emphasis on the final form to the significance of the creative process, material, and technique. I am looking towards the accidents of ceramic mold making and how I can embrace the imperfections of a process while simultaneously revealing a truth within an uncertainty.

This was a quick attempt at hanging the bowls. I found I definitely needed a safer way of securing the bowls to the wall, but I enjoyed seeing them off of a tabletop and in a more sculptural form. 

irreconcilable differences

In moving along with my interest in obscuring identity within the figure, I decided to take my concept to ceramics. The issue I couldn't move past was actually the figure, the Virgin Mary, for I wasn't interested in the religious connotations even though they were ever prevalent. Yet, I'm really glad I kept progressing with this figural work, for I was able to do it, see where else it could go, and where it would lead me. 

creative method

When we look at work hanging on a gallery wall, we see only what the artists has chosen to disclose; the finished work of art. The process of creation remains a mystery. A Giacometti Portrait brings the viewer into the creative process and depicts the evolving making Giacometti goes through day by day. This ever-changing of a figure has been a fundamental in my own creative progress, for I continually shift, alter, and manipulate forms time and time again.