Artist's
Statement of Method and Philosophy
A
friend told me recently that it was helpful for her
to know how an artwork is created and how the artist
works and thinks. That led me to consider what I have
to say about my artwork. When one looks at my sculpture
I hope one sees strength, mystery, sensuousness, spiritual
energy and more. How these constructions in modeled
clay can stir such responses in me- and others- is a
mystery to me, but I can say something about my methods
and way of thinking.
I
have always been intuitive, reactive and spontaneous.
I loveimprovisation, expression and the power of chance
and serendipity. This may not seem obvious in large
pieces that must be carefully crafted over weeks or
months. Here is how it works. When I began the first
pieces in this body of work many years ago they were
purely improvisational. I would begin each piece with
a flat slab of clay that I cut into a shape that would
be the bottom of the sculpture. I usually had a vague
idea of the proportions I wanted. This general notion
set the theme within which I worked. In the manner of
free jazz I would consider the form I had and mentally
project what the possibilities might be for structure,
expression and coherence. I worked on 4-6 pieces at
a time adding a fat coil per day, which I pinched into
a 3/4" section. When the sculptures were leather
hard, they were scraped to refine profiles and edges
and to provide textural contrast. The building always
progressed from bottom to top with the hardening clay
giving no opportunity for revision or restructuring.
Eventually
I discovered that preplanning sculptures would lead
to new forms. This loaded much of the spontaneity into
the planning phase. I first did thumbnail sketches followed
by small modeled clay maquettes… followed by maquettes
carved from stiff little blocks of clay… followed
by my current favorite, maquettes carved from pieces
hammered from big, thick irregular chunks of nearly
dry clay. In all cases quick brainstorming activity
leads to hundreds of sketches that are culled for the
rare idea that deserves to grow into a sculpture. Of
the sculptures begun, nearly half are rejected and destroyed
before they are completed.
Sculpture
is a connection between the heart and mind of one creator
to the heart and mind of others by way of the eye and
the hand. I create in clay because it suits me. It is
a humble, common, formless substance that freezes the
energy of shaping forces and is transformed by the energy
of fire. Through clay I search for my place in a vast,
mysterious, interconnected and sacred nature displayed
in forms of plant, animal, geologic and un-nameable
spirit.
AVAILABLE
INVENTORY:
  "Firebird"
Bronze
15.5 x 5 x 4"
$900.
|
