The past two years have been quite different than the last 30. I changed clay bodies and firing temperatures, going from low to high. My work took on new forms, new themes and new methods. 

In 2019, I was invited to do a residency in Jingdezhen China to work in a porcelain factory called Franz Collection. I worked with mold casting, sculpting and glazing using both oxidation and reduction firings. An ultimate experience both technically and in terms of creativity, actually the highlight of my professional career. Upon my return from China, I culminated my installation Another Dinner Party, which I began in Shigaraki Japan in 2018. This installation is inspired by Judy Chicago's feminist masterpiece, The Dinner Party created between 1974-79. I then began a series entitled Colorful Confinement, large sculptural vessels that researched porcelain coloring and deformation using high firings. 

For the most part of the past 30 years, I dedicated my work to two series, ‘Face-to-Face’ and 'Stacking & Piling.' The sculptures in ‘Face-to-Face’ are portraits that reflect upon the intimate relationship between subject and model. I'm particularly motivated by the process inherent in portraiture, which induces both self reflection and a form of combat between myself and the clay. The sculptures in 'Stacking & Piling’ question the traces and concerns which emanate from political effervescence, social injustice and natural catastrophies. These sculptures are built like spontaneous memorials, amalgams of ordinary objects, often symbolic. I question the transmutation of these ordinary objects, the memories and traces they leave behind or the symbolic value that we transfer onto these objects. Here, I use the process of free association, to build, assemble, accumulate, stack & pile the objects that symbolise the gravity of the situation. Both series research the concept of empathy, commemoration and the passage of time.

As far as the material is concerned, I am fascinated by the clays complexity; it’s transformation from liquid to solid, the contrast between clean and dirty, rough to glossy, soft to hard, from mud to art. The freedom in form and expression, the glaze painting and firing intrigue my research and push my processes constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry.

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Statement

The past two years have been quite different than the last 30. I changed clay bodies and firing temperatures, going from low to high. My work took on new forms, new themes and new methods. 

In 2019, I was invited to do a residency in Jingdezhen China to work in a porcelain factory called Franz Collection. I worked with mold casting, sculpting and glazing using both oxidation and reduction firings. An ultimate experience both technically and in terms of creativity, actually the highlight of my professional career. Upon my return from China, I culminated my installation Another Dinner Party, which I began in Shigaraki Japan in 2018. This installation is inspired by Judy Chicago's feminist masterpiece, The Dinner Party created between 1974-79. I then began a series entitled Colorful Confinement, large sculptural vessels that researched porcelain coloring and deformation using high firings. 

For the most part of the past 30 years, I dedicated my work to two series, ‘Face-to-Face’ and 'Stacking & Piling.' The sculptures in ‘Face-to-Face’ are portraits that reflect upon the intimate relationship between subject and model. I'm particularly motivated by the process inherent in portraiture, which induces both self reflection and a form of combat between myself and the clay. The sculptures in 'Stacking & Piling’ question the traces and concerns which emanate from political effervescence, social injustice and natural catastrophies. These sculptures are built like spontaneous memorials, amalgams of ordinary objects, often symbolic. I question the transmutation of these ordinary objects, the memories and traces they leave behind or the symbolic value that we transfer onto these objects. Here, I use the process of free association, to build, assemble, accumulate, stack & pile the objects that symbolise the gravity of the situation. Both series research the concept of empathy, commemoration and the passage of time.

As far as the material is concerned, I am fascinated by the clays complexity; it’s transformation from liquid to solid, the contrast between clean and dirty, rough to glossy, soft to hard, from mud to art. The freedom in form and expression, the glaze painting and firing intrigue my research and push my processes constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry.

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