Sketch Cup, 4 in. (10 cm) in height, porcelain with mason stains, fired to cone 6, 2011.


CM: How do your functional and sculptural pieces relate in terms of influence; does the design and/or making of one cross over into the other (intentionally or otherwise)?

 

BF: My functional and sculptural works evolve simultaneously and confront a wide variety of visual stimulation. Flash art, designer toys, pop culture, graffiti tags and nightlife have all informed my work. Often times when one formal or technical aspect works well, it will appear in both bodies. Vessels give sketching a sense of purpose and a reason for using fat brush strokes of drippy, colored slip. I take the liberty of being loose but sometimes the specification of a function makes me nervous.

Crystal Study, 10 in. (25 cm) in height, porcelain fired to cone 6, borax, 2011.

 

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It’s hard to ignore that I have felt hierarchies between functional and sculptural objects from external sources. When working, I think about my confusions pertaining to preciousness and value. How does an object qualify itself as being important? Is what I want rare, and does it take time to grow like a diamond, or is it a symbol that references a status or identity? Working sculpturally is my time to be as indulgent as I wish. The crystal compositions reveal my conspicuous cravings during times when it’s easier to bury my words. The common thread that holds everything together is the need to feel connected to my interests. When working repetitiously, there is always another chance to be involved with my obsessions.

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