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My
work with earthenware acknowledges my admiration for the earthenware
traditions of Western Europe, the Orient, and the Americas. Early English
slipwares and the work of Thomas Toft to the eighteenth century pieces
of Thomas Wheildon, colonial American redwares, the delightful geometries
and figurative pottery of the Indians of Tonala, Mexico, the slip decoration
of Japanese master Kanjiro Kawai and the folk pots of Mashiko all serve
as motivating references for my own work with slip wares. I utilize both wheel and handbuilding techniques, focusing on the problems and designs of pottery for daily use as well as vessels of a singularly contemplative nature. My concerns with daily utility are simply to focus one’s attention and contemplative spirit to emphasize the uniqueness and regenerative powers that can be found in the seemingly ordinary. I prefer that my work reveal the presence of my working. I wish to avoid the notion of “artist as anonymous”. The work must possess the gesture, the physical imprint of my touch, my responsiveness, in the same way that a musician’s touch and sound are uniquely identifiable. Yet each pot must synthesize and transcend its process in order to make its sound. |
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Redware
and Slipware 111 Broad Street
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