The Venus Series
My white porcelain is figurative in nature—although sometimes so subtle as to not be recognizable as such—and forms what I have called the “Venus Series” of non-functional vessel-form sculptures. The hand-finished surface is left unglazed. The viewer is invited to experience the surface through touch, as well as visual inspection.
Art is about communication. My hope is that the viewer will have some connection—not necessarily one that can be understood or explained with words—but some connection nonetheless—to what I have experienced and expressed through these forms.
It was the sensual tactile experience that originally drew me to the particular porcelain that I use. I hand finish in lieu of glaze because I want the feel of the finished piece to be “buttery” like the porcelain is when it is in the final stages of workability. Something about porcelain makes it “beg to be touched.” I build on this inherent quality by enhancing the surface at various stages of production to give it a surface that is pleasing to touch.
Traditional methods such as wheel, coils, slabs, molds, etc., do not allow me the expression of emotion that flows through my hands into the porcelain as I work. Only through that direct contact do I make the connection that bypasses words—the connection to the inner self that is not dependent upon words for communication.
As I work, my process is not so much one of “creating shapes”, as of “discovering shapes, preserving them, and connecting them.
I find in the porcelain forms that suggest such diverse natural shapes as sea oats, flowers, shells, waves, and (especially) the human body. Creating my sculptures in vessel form makes the mechanics far more challenging, but I feel drawn to the analogy of the human body as the ultimate vessel form.