My work is almost exclusively concerned with the pursuit to create obscure and compelling forms and then to explore how these forms interact with the environment, the viewer, and with one another. Emphasis is placed on the interactions and relationships that develop between two or more forms when placed in the same space. Supported by the use of texture, color theory, and repetition, the forms work together with the intent to create a cohesive, complementary and visually appealing interaction. These extraterrestrial organic forms were born out of modernized interpretations of Space Age design ascetics that revolutionized consumer culture in the 1960’s. In borrowing design principles from this movement, such as the dramatic abstractions of organic forms and the predictive futuristic approach to design that established the movement, I intend to capture and restore the optimism for the future demonstrated by way of design. In a similar manner, this body of work serves as a collection of hypothetical abstract representations of future design trends that will develop as our society becomes more interconnected with outer space. Their interaction aims to capture an optimistic harmony existing between the organic and futuristic, while promoting an underlying theme of fundamental equality.
The notion of equality originates from the similarities in form and the sense that they are not in competition with one another, but working together to create something complete, a concept perhaps best depicted in the work Set of Four Celestial Spheres, Fall 2018. Making molds and slip casting a number of original designs allows me to create multiples of the same form in order to best communicate this concept. In order to achieve a more well rounded portrayal of equality, the homogenous approach to form is contrasted by the volatile nature of an effect glaze, which will never allow for complete uniformity. The wheel and the craftsmanship involved with throwing enable me to make sculptures that hold the same accessibility and intimacy of more traditional ceramic wares, as seen in the work Set of Three Meteoroid Forms, Fall 2018. With inspiration drawn from the art of everyday objects and the Mid Century Modern movement’s aim to bring high design to the middle class, these forms are specifically designed to be highly accessible art, much like a functional ceramic object. By removing the functionality, an uninterrupted appreciation of form, material and design is supported, while simultaneously challenging the viewer to place these foreign objects in space and time. Ultimately the objective of my body of work is to challenge the viewer to embrace the unknown and find satisfaction in a balance of the familiar and foreign.