Large pots
This series stems from past work where I investigate texture and play. These pots incorporate a structured form with that playful investigation of how clay can be manipulated and the fascination with the texture that results from how this material moves and flows.
"Unwitting collaboration"
This pot was created by saving all the pot trimmings from classes I taught over 6 months. The small bursts of colors are from the colors that students picked for their pots without knowing it would be part of a bigger collaboration. The trimmings removed from the bottom of the pots come off as satisfying ribbon-like curls. The vessel was then glazed a matte pop-tart white.
"The Twins"
These two pots were built simultaneously using a granite clay body heavily mixed with some white clay. I had recently finished a commission incorporating elements of the Canadian shield and the Muskokas into a serving bowl. These pots were a continued investigation into how the clay flows and ripples like water on the granite surfaces in Algonquin park.
"Twisted and drifted"
This vessel incorporates the use of a firm, less pliable and more static clay and building style, with a very loose soft pliable, squashy clay. Black stain was used to accentuate the folds, textures and movements of these contrasting clays.
"Accumulated by time"
Coral grew, then died, then collected, then converted to permanence as textured stamp.
Smaller than my large pots, the fine and intricate textures were created over many hours. The pots were built in many small pieces slowly accumulated together rather than in a standard building style like coils. This resulted in organic shapes where the pot dictated the way it wanted to grow and move. The texture was created by using small pieces of coral reef (dead and washed up on shore) to create stamps. The coral was sourced from Moorea in the French Polynesia.
