Kansas City Art Institute, Kansas City, Missouri
Instructors: George Timock, Paul Donnelly
CM: Tell us about your choices for materials, the various forms, and composition for this piece.
I chose these materials to exemplify a non-traditional, yet cohesive and innovative, relationship to the common perceptions in criticism of ceramics versus art as a whole. I arrived at this particular arrangement of materials after practicing a wide array of artistic disciplines, formal explorations and studying works by historical figures such as Ludwig Mies van der Rohe and Gordon Matta-Clark. I used these various materials to then challenge myself, and my capabilities as a maker.
I worked as an intern with Andy Brayman, which allowed me to silkscreen palladium decals while collaborating with classmate Zoë Pedziwiatr (responsible for drawings). I also worked with Ken Edwards at his wood shop in Illinois to troubleshoot and produce the cantilevered pedestals made from black walnut and inlaid maple.
Together, these various forms can be viewed both two-dimensionally as a painting and three-dimensionally as objects. The forms all reference the idea of construction within vernacular architecture and remain void of any excess ornamentation. A combination of intuition and precarious play resulted in a composition that ultimately is structurally sound.