The glazes seen on these pieces were mixed by myself in the glaze lab at school. I took some references recipes and altered them to get the desired color and degree of shine. The cups seen were an archive mold and the vase is a slump mold, hand built from slabs.
This collection of pieces is meant to start a discussion of how we view art and the ways in which we choose to elevate it. I took two different kinds of finishes and put them together in a classic \"gallery wall\" setting. The pieces that are fired and mounted on white boards are what many would consider truly finished work. On the other hand, I have chosen to find beauty in the unfinished. I reclaimed the backsplash from my grandmas kitchen to create a boarder for the raw clay and dried, pressed flowers. This was intentional as the piece is meant to be ephemeral, using epoxy to glue bone-dry slabs to a wooden frame. Put this work in the right, or wrong, setting and it will begin to disappear.
My interest in the natural world and its relationship to ceramic was sparked with this piece. This piece was meant to lead to a new path with the intention of finding my \"signature\" in my work. I have since began to find new ways to incorporate the significance of herbalism and our Earth mother into my practice.
This is a project intended to explore the surface interaction between simple copper wire and a standard commercial glaze. While there wasn\'t as significant reaction as I imagined, it was an experiment that sparked further investigation in my future work.
This project was created in tandem with a lesson plan addressing the violent lessons we teach within our school systems. Children are impressionable, as we all know, as unfortunately our society has a tendency to lean to violence. I decided to use imagery that is horrifyingly common for today\'s young people and portrayed them in the primary colors we all learn in our early years.
