My cast-and-assembled sculpture explores the design and assembly of modular geometric units. The work is split into two distinct bodies. My vessel forms are created by duplicating detailed crystal glassware, while my sculptural geometric elements are designed using Computer Aided Drafting (CAD) software. My final products communicate the exacting nature of the design and mould making processes.
I base many designs around the idea of function, referencing my initial attraction to the ceramic medium. Spouts, handles, lids, feet and bodies are composed with a focus on linear and planar interactions. This provides a conceptual framework from which I create component parts necessary to fulfill the desired function of a given object. My composite constructions take on the forms of elaborately re-imagined everyday vessels in addition to purely sculptural biomorphic and architectural abstractions.
CAD software enables me to accurately visualize objects prior to their construction. I devote a significant amount of time to the design phase in order to insure versatility before the creation of a prototype. Inspirations come from a love of geometry, modern architecture and farm machinery commonly seen while growing up in rural southeast Kansas. Repeated production and reconfiguration of modular elements allows me to create and continually refine similar yet unique objects.
Elaborate networks of edges and planes are the perfect canvas on which to paint by soda firing. This is due to the non-aggressive manner in which the soda vapor moves through the kiln and around work. This leads to a high concentration of soda on the edges transitioning to very little in the concave corners. The variability of this firing process enables me to maintain an element of risk and excitement in my practice. I manipulate highly variable slips that rely on their placement, kiln atmosphere, and the application of soda during the firing to develop the surface finish. My ability to control these variables adds to the individuality of each piece.