Artborne Magazine July 2016 - Page 25

Token Language, ceramic the line between those two is really important to me. That makes a lot of sense because you do have a lot of sharp edges with more natural, not necessarily rough, but more organic edges. Right. We idealize a lot of things, and I don’t want to say that I kind of point at or laugh at those but I definitely want to draw into question idolatry or reaching for ideals. And let’s bring us back down to earth and look at the other side of the coin. Visual media is so fun because it gives you the opportunity to do that without having a bunch of words get in the way. Sometimes my titles will point in the direction of what my work is getting at, but then those tend to shift with my thinking as well, which is kind of fun. I could imagine that it would be hard to give titles to your work without giving too much away. I’ve really begun to love titling the work. Sometimes I will make work based on a title, or at least challenge myself to do as much. But often times the process of making the work I begin to make correlations between either objects or cultures, whether those are buildings, or cycles, or behaviors. My thoughts on those tend to crop up a little bit in my titling. What made you decide to hang some of your heavy ceramic pieces on the wall? Oh gosh. I think about caves and photographs of mountainsides or when you’re driving down the highway that they’ve been making by blowing Orlando’s Art Scene the rock of the face of the mountain, something about that mass of rock jutting from an otherwise clean planar surface is amazing to me. So I made it a personal challenge over the past year or so to be able to get away from the floor or the pedestal and to get the work on the wall. Not only for ease of placement in terms of homes, not a lot of people have room for sculpture, let’s solve that problem, but more than that. My visceral response to seeing rock jutting out of the wall in an otherwise clean environment is really meaty to me and it makes me happy. than Florida and I romanticize those. I don’t have to live in the mountains; I don’t have to deal with the small patch of sky or big fucking boulders in my yard that I don’t want there. To some degree, making the work that feels like big jagged stones is like the countryside or part of the world that I don’t live in. It’s like bringing the rest of the United States to you. Yeah, I can’t necessarily go there all the time so I will bring it to me. Tell me a little bit about your career as an artist. Where did you start and You don’t see that in Florida, so it’s how did you end up with ceramics interesting that that inspires you. being a predominant form of your And I love that you say that because so art? many people are like ‘Oh, you know I stumbled into making pottery in I’m inspired by my environment’ and high school classes and it wasn’t until of course I’m inspired by my envi- a couple of years outside of that that ronment but I’m more inspired to go I realized I really enjoyed what I was to the beach than I am to make work doing and was invested in it. I spent a about the beach. We talked about ro- number of years doing markets, fairs manticizing things. I see all the pic- and festivals, selling functional work. tures of Utah, I’ve been to Washington It wasn’t until probably a good eight State, I’ve been to a number of beau- years into pottery making that I starttiful mountainous regions where the ed pushing the boundaries of what landscapes are completely different was functional or what was useful and was thinking a lot more about Excavation(s)IV, ceramic & oxide pigment the materials I was working with and melting. Just having fun making a mess with it. I know that you’ve done some sculpture work outside of ceramics; do you want to talk about that at all? I would love to do more sculpture work outside of ceramics. I find myself drawn back to the work that I’m doing. A, because I love it and B, because the ability to market work, the ability to make work that is an ob24