Antiques from the Future
The ideas for a concept car first take root in modeling, wood and clay. I look back at the age when cars were made of metal, and shapes were inspired by the space race. I look far into the future where concept artists such as Scott Robertson push the boundaries of design and form. Sketches and image libraries become foundations that turn a rectilinear block of clay into a form. Minimal detail is added as these are meant to only hint at something realistic. Wheels and function do not exist in these cars.
The Bonneville Series explores my love affair with aerodynamic forms. These forms are sensual. They flow and curve, mimicking the natural shape and lines of the human body. I mimic the form lines with my hand and make a sound effect with my mouth. WHOOSH! I am a kid again. And shouldn’t what we create take us back to being a child? In the end, I am making the toys I’ve always wanted. It is a long-standing romance between my inner child and the forms that make up a possible future. The creation of these toy-sized cars brings me back to what I love: aged surfaces, architecture, science fiction, futurism, invention, risk, helmets and spacemen. These vehicles, my antiques from the future, are loved by someone. They have been cherished and now, cared for. I believe that all artists create artwork that ties them to their childhood in one way or another. And why not? It is a time when we are most free.
Unresolved Work from February 2007
Earthenware, Woven Reed and Cane
Experiments often stay experiments and rarely make final cuts, but I have always tried to document something. My dad always said to document as much as you can. I’ve always seen this as an extension of when people would ask him “How do you take good pictures?” His answer: “Take a lot of pictures”.
So it is with this clay and woven piece, I documented. I fired the piece at low temp, but it just fell to pieces. I believe I did manage to capture pieces here and there, but would have to look for them. (Incidentally, I am debating on whether or not to resurrect files from a portable hard drive that bit the dust. $1500 was the quote. Yikes. ) While this piece stood nice on its own without being fired, I was in a quandary. If I am indeed apart of Ceramics program, does that include un-fired work too? There were other designs I chose to keep unfired, but I believe they are on said hard drive. I like the notion of organic things on the ground being put to good use by some animal for survival. A nest, a damn, or a burrow. All come to mind when I look at this woven piece with hardened cracked clay.
Last fall I created two digital pieces for a faculty show at TCC, that I tentatively termed part of a “gizmo(logy)” series. I had so much fun with those images, and I’ve been expanding that collection with both 2D and 3D works.
Next month FWADA is hosting it’s annual spring gallery night, and I’m so fortunate to be able to have my first solo show as a part of that event. I’ll be showing new work from the Gizmo(logy) series, as well as some of my favorites from Clay, Light and Time, and Liquid Clay Drawings, hopefully presented in an interesting new way. The show will be at Gallery 414 in Fort Worth, TX.
The theme for the class was “water”. I couldn’t keep Hokusai’s wave out of my mind. Here ya go.
The Mrs. and I loved how some tiles turned out so much for a project, that we decided to make our own. Finished tiles are on their way. Terracotta with a white slip and clear glaze. Will post updates.
Water Jugs, sizes vary, terracotta, 2012
Unfinished work, I plan to fire these in the vain of Maria Martinez, black on black ware. (For example, click here) These still have a long way to go before firing: sanding, terra stigilata, and finally burnishing and decoration. We will check back on these later.