Artborne Magazine July 2016 - Page 24

because I know they’re available. I think the vocabulary that comes from that material is something that I’m beginning to do more intentionally, but I really enjoy reading into it after the fact. How do you become inspired by these everyday materials and decide to use them? The honest answer? I think anybody that fires kilns is like ‘Oh shit, I can melt that. Let’s do this!’ A lot of your sculptures are either unglazed or they look more raw and natural like they came out of the ground. Why do you choose to go that route instead of more traditionally glazing them or coating them with some kind of finish? I have a background in functional pottery and traditional work. Glaze is an amazing and beautiful thing, but it has to be used appropriately. It would be really easy for me to say ‘I like the work raw because it speaks directly to the quality of the material’ and that is true. That clay is its own skin. That skin has so many different shades and textures that it can take of its own accord. Glaze often hides those. But I think, more than that, the natural quality of the material is one of the things that draws me to working with it. So if I am using glazes, it’s probably to highlight something or because I think that bold and beautiful color, or texture, is called for. Talking about the work itself, the form of HܚH[]^x&\B[[X[Xˈ^H\H]X]HH[][ۜ\]X\[X[[HYH][H^HBY\KB\K܈\š][ܙHوB[][ۜ\]\\[ݙ\[YO•]8&\H]Y\[ۋB[HYBHوBܛ\]H[›XZH[܂[[š] []8&\š[\XB܈YHX܈ \[ZXYH[B[^K\š\^HX]\X[ H\XKH܋H^\H H]\Y][]\[\[^H[Hو[[[HY[HHوܚ܈Y[HڙX XHܙX[XH[]8&\[\\[ˈœX[X^HY][\[XYH]][وH\[[[[\XH]X[]Y\][]K[]8&\œX[HX\H[[x&\HX[X^[œY][YHHH]B\X[ۈ[]Y\Y[\X]] ]8&\X[HX\HYHH]\YHH[Z\YHHقHY]Y\HHX[XYHوY][ˈ[[”Z[YK\[ZX YHYY[‚ːTԓSPQVSKB