My work is driven by the concept of controlled fluidity. Throughout the entire process from wet clay to fired work there are isolated moments of spontaneous creation. Working while the clay is wet and at its most plastic state allows me to implement an aspect of design that isolates and solidifies the natural fluidity pottery is capable of. I also use language in the form of symbols found in traditional Kanji and Pre-Islamic Arabic text/symbols as reference for their profound symbolic aesthetically pleasing compositions. I find that the symbols we use to convey context through language are intimately beautiful in the structure of their creation, and how humans use them for thousands of years. I think about language as a Swiss army knife of knowledge and use it as a concept and a tool in my artwork. It's a constant factor that holds true through the test of time and is used by humans every day to connect us with one another.
I have always been captivated by the complexity of ceramic glazes. In my current body of work, I explore new perspectives on three-dimensional ceramic forms by juxtaposing them with large formate silver metallic prints. By studying their surfaces and viewing them as a two-dimensional composition sparks a new dialogue between each individual piece and its viewer. Each piece holds thousands of individual moments of spontaneity and expression hidden within its surface. As a series, it allows the beautiful, fun, and spontaneous nature of glazes to shine for each of the individuals in the group. Allowing a viewer to engage in a fresh and intimate dialogue fosters a further appreciation for the unexpected and beautiful nature of ceramic glazes.
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