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My work
is influenced by a convergence of childhood experience traveling in the Sierra Nevada Landscape and an understanding of Eastern
aesthetics. Exposure to these two influences were given from my father who spent much of his early life in Taiwan. His
appreciation for Asian culture through food, films, and spirituality was a theme for much of our activities. One of our longstanding
traditions was an annual back-packing trip into the Sierra. This world of granite, water, and flora formed the structure of my
values and beliefs. My subsequent education in the Arts provided a deeper understanding of Eastern philosophies, particularly in the
Ceramic Arts. This defines my appreciation for Ceramics, particularly Japanese, Korean, and Persian wares, where evidence of rugged
essentialism and the acceptance of the unexpected are expressed in utilitarian objects. My involvement with Ceramics at this level
has created an expanded scope to my research. Geology, Botany, and the history of Gardens are integral components of making and
exhibiting.
All of
these influences revolve around a central idea of self-awareness and creation. Many of the introspective kinds of experience gained
from trials in back country navigation are similar to the challenges in the creative process. This process emphasizes sensitivity to
the moment. The more contrived the act, the more likely one is to experience disappointment in the outcome. The
processes involved in working with clay rely on this level of attention. This path of least resistance is the most important part of
the final outcome.
My
appreciation for functional objects ranges from the strictly everyday use of objects to the more eccentric and possibly sculptural aspects
of experiencing objects. Their use can become obscured and inter-changed. My Aesthetic incorporates the use of forms and
surface which employ organic / gestural qualities as well as architectural / human invented forms. In this regard, I attempt to
create a dynamic equilibrium between the sculptural aspects and the conventions of functionality. My experience with wood and
salt-fired ceramics is important to my aesthetic goals. This process of firing with wood has solidified my understanding of the
relationship between form, material, surface, and the traditions of fire. Currently, I dig and process most of my clay in the foothills of
the Sierra Nevada. Working with more stubborn clays has challenged my working methods. The struggle to figure out a particular
material and how it works is what holds my attention. Regularity in process and results rapidly creates boredom. Wood-
firing is perfect for this very reason; it is for the most part unpredictable. However, with keen observation, one can build a
palette out of the irregular and in a sense “casually mingle” with it to achieve desirable results. I also work with mixed-media to create
singular objects as well as installations. The use of space as an element in experiencing visual information is also a key
element in my work.
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