I draw geometric inspiration from the world around
me, both natural and man-made.
I am particularly influenced by the mathematical art of M. C. Escher, the design science of R. Buckminster Fuller, Asian and Scandinavian design. Each new piece starts with sketches that I then realize in three dimensions.
My sculptures are fully planned and plotted in my head and on paper before I even touch the clay. Many designs are explored before one is satisfying enough to begin the labor-intensive process of creation.
Once I create the right design, I build the geometric forms from cut and beveled slabs of stoneware clay. The design is transferred from a template to the wet clay piece and then I begin the process of incising and carving to achieve the illusion of woven clay strips. I spend many hours over several days, carving and cleaning and carving again. When the carving is done, the pieces are dried slowly and bisque fired. I often apply a red iron oxide wash to accent the changes of plane and fire in reduction to finish the piece.
I pursue this path in clay to explore the possibilities and limitations of the medium. I create the sculptures to explore and exploit geometry. The result is often an interplay of geometric relationships not immediately apparent. The elements I design in two dimensions are only truly complete when observed on the three dimensional form.
I am particularly influenced by the mathematical art of M. C. Escher, the design science of R. Buckminster Fuller, Asian and Scandinavian design. Each new piece starts with sketches that I then realize in three dimensions.
My sculptures are fully planned and plotted in my head and on paper before I even touch the clay. Many designs are explored before one is satisfying enough to begin the labor-intensive process of creation.
Once I create the right design, I build the geometric forms from cut and beveled slabs of stoneware clay. The design is transferred from a template to the wet clay piece and then I begin the process of incising and carving to achieve the illusion of woven clay strips. I spend many hours over several days, carving and cleaning and carving again. When the carving is done, the pieces are dried slowly and bisque fired. I often apply a red iron oxide wash to accent the changes of plane and fire in reduction to finish the piece.
I pursue this path in clay to explore the possibilities and limitations of the medium. I create the sculptures to explore and exploit geometry. The result is often an interplay of geometric relationships not immediately apparent. The elements I design in two dimensions are only truly complete when observed on the three dimensional form.