The main body of the mold enjoys most of the focus, but its volume is mirrored by the lid and knob. Belted lines at the edge of the piece and the base of the lid organize the volume of the form into distinct inflated registers, with marks that fill the space for the eye to follow. The motifs around the widest point of the piece shrink and curl in space, following the contour of the pot and emphasizing its volume.
The lid of the jar has a similar curved contour and a completely mirrored curve that is present in the knob of the jar. The leg helps create the floating appearance of the vessel above the horizontal, flat surface of the table. The floating effect of the dish on the table adds an animated and life-like quality to the work that I hoped to capture in Breath.
Both show an extreme proportional relationship between the base of the piece and its widest point. The line work along the main volume of the piece twists and turns around the form, leading the eye across the surface. Once selected, I create a series of sketches based on the dimensions of these historic objects, placing lines on the pot terminals.
The goal of the exercise is to play as much as possible within the defined proportions.
CONTEMPORARY INFLUENCES
His larger work radiates a motherly softness and presence, but at the same time is expertly constructed and has an enormous impact. The work emphasizes swell and contours and the relationship with space makes you 'pause and lie in its shadow'. His work has influenced me in many ways, but foremost is his attention to history and intention.
It forms reference stories, but they are created on such a scale that they serve only an aesthetic purpose. Michael Simon (Figure 7), part of the Japanese Mingei Art Movement, is one of the most influential potters in my work. I am particularly drawn to the freshness of its forms, as well as its attention to and visual play between proportion and volume within it.
Special attention is paid to the transitions between volumes to create curvilinear, almost continuous additions in form. His work has influenced both my firing style as well as my approach to surface. The surface is edited down to the bare essentials, and receives as much attention as the forms themselves.
The uncluttered forms and surfaces represent the fresh and fluid quality of his work, but have a casual, seemingly detached approach, while structurally conforming to a utilitarian standard and containing a vitality rarely captured. Jeff Oestreich (Figure 8), a student of Leach and part of the pottery tradition of the Leach studio, was a significant influence on me in terms of surface considerations and the use of a. My interest in the Art Deco movement stems from his work, as well as an interest in the asymmetry of form.
Finally, and most influential in terms of utilitarian pottery that serves a purpose well, is the work of Phil Rogers (Figure 9). I started paying attention to his work when I was in high school, and his approach to creating work that unites form and brilliance is something I've tried to learn from. Early on I was drawn to the quiet nature of his work and how strong yet revealing it is.
EVOLUTION OF BREATH
This, again, allows the liquid to be directed in the most unified and unobstructed manner down the spout into the cup or mug at the bottom of the stream. Finally to ensure a clean flow and an effective cutting of said flow, the trailing edge of the nozzle is significantly sharp and the nozzle terminal has the lowest diameter value along its length. The nozzle attachment is critical to the piece and is a necessary preliminary step in determining the placement of the handle.
The handle is pulled separately from the piece and attached, making sure that the handle is thicker at the ends of the teapot body and thinner in the middle. This creates a pleasant visual tension that visually unifies the handle with the large mass of the pot body and again visually balances the shape. The height and placement of the knob is related to the handle and spout, which balances the design.
Although some teapots take a more aesthetic approach to form and may not be entirely practical, all are considered sufficient to function effectively as teapots. My thoughts on surface and design are that it should not become the center of the work, but act either in support or in opposition. These pieces used form as a canvas to work on, and in a sense I wanted to avoid that mindset when thinking about the surface for the pieces in the show.
I wanted to support the strength, generosity and attractive quality of these forms by creating patterns and incorporating isolated glazes that emphasized the stretched and pressed quality of the joint work. I also wanted to take forms that were louder in their formal considerations combined and with darker pattern and glaze, calm the piece. In the end, my goal was to make a series of works that all worked together, without any part needing to shout or stand out in a weird way or draw attention from afar, but come across as overly complicated and closely considered. .
AESTHETICS
The most important of all the guiding words is that I am interested in inviting the viewer to handle and experience each piece. Each element of the work must feel united with the rest of the form, while color and surface choices must reflect an aim to attract the viewer or user to investigate, explore and experience. A variety of surface finishes that blend glossy with matte draw the viewer in and invite them to look and explore.
The show's inflated forms are inviting as they are substantial in space and prompt the viewer to explore the entire piece. Ultimately, my thesis statement explores the idea of slowing down and paying honest attention. I intend for viewers and users to look closely and observe and find an entry into an unforgettable and slow experience.
Although I take influence from both art objects and utility and craft objects, the essence of my work is to give the viewer a slow moment. The final product is a reflection of my interests and my desire to slow down and pay honest attention.
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