Wow it’s been so long since I have written. I had a wonderful exhibit in March 2016 with my gallery in NYC, George Billis. Pieces for the show were manipulated while “green”. Folks said they were whimsical, animated; they gestured. I so enjoyed recovering that sense of play that was instilled in me by my first teacher, Rita Marlier.
After I worked on these pieces, I got drawn again to form. I just love throwing in parts and working in series. So there is a collection of pieces which remain formal and not manipulated. They are very kin to the gestured work, though not obviously. They both start with the same pattern of throwing. The difference is, I didn’t manipulate these form. They are still very connected with the forms I learned to throw looking at Lucie Rie. My enchantment with these pots was the surfaces. I broke all the rules….firing high, firing low, learning what surface would go on top of what. All this was done in an electric kiln somewhere between cone 6 and cone 07.
Physically important to these 2016 pots was the fact that in winter, I stayed put and did not move my studio. Being a potter, I thought moving heavy buckets, boxes, and bats were just part of my life. But I found a lot continuity staying in one place.
It’s always hard for me to get back to work after a show, so my new work didn’t really start until July. The pots were different…not pots so much as metaphors. As years go by, I’m dealing more and more with age. This work is all white. Pieces are pulled and twisted, wrapped into bizarre shapes. They are expressive, singular. To me, some are even imperfectly perfect.
I am honored that George Billis chose my work to take with him to SOFA in November.
This week we lost Akio Takamori. He was a great artist. We will miss him. He can never be replaced.