CM: Given the fact that your forms are very clean, and are not necessarily typical for wood firing, please explain your approach to integrating from and surface.
LO: I start to think about the surface of a piece when I am mixing clay. I have worked to create a clay body that can throw well, but also has enough grit to tear and trim with cragginess. Secondly, I think about surface when I am deciding how I should build a piece. For example, with the pourers, I left the seam of the press mold to follow the line of the spout. When I am working on something in the studio, I really enjoy the way clay behaves and want to maintain that material quality in the finished piece. One of the benefits of firing with a wood-fueled kiln is the way in which the flame, wood, and clay interact to add to this active but subtle depth on the vessel. By keeping my forms relatively simple and cooling in reduction to gain a darker color palette, I aim to slow the pace of the viewer, so they can better notice these slight but important marks of process.
Along with considering the function and surface of a vessel I am working on, I also think about clay as a tangible material; how objects feel in my hand, the weight, porosity, strength, and conductivity. These same characteristics are considered in the wood and metal forms that I reference from my surroundings. I am intrigued by the idea of material permanence and find the patina and idiosyncrasies of time worn into commonplace objects to be beautiful. I use the wood kiln to help evoke that sense of history and inseparable form-surface relationship.
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