The dichotomy of interior and exterior space is a guiding force in my work. The work centers around two simple, yet all important elements, form and utility. The interior space functions as the utilitarian, containing food or liquid. The exterior operates as the designed form on which utility places few constraints. A strictly utilitarian vessel is subject to many requirements. It must be easy to use, comfortable, and ideally easy to clean, when fulfilling all of these requirements there is frequently little from for significant aesthetic elements. By dividing my work into parts I am able to fulfill these rudimentary utilitarian requirements without sacrificing the formal elements that inspire and hold attention.
Through subtle exploration and variation of line quality and profile I am able to manipulate the exterior forms of my pots in such a manner as to distance them from their interior counterparts. Having said that, my formal choices are still strongly influenced by the utilitarian, there are frequently allusions to the interior form in the profiles of my pots.
My materials choices, porcelain and monochromatic glazes, are deeply rooted in my Asian heritage and study. The pots of the Sung Dynasty in China and some twentieth century Japanese potters have become my points of departure. To these base line aesthetics I have super impose my affinity for high design and machining processes in order to more accurately express my personal aesthetic.
Interpretation and combination of these influences has helped my work to mature. In addressing the dichotomy within my own personality, tendencies towards the rambunctious versus those of solitude, my work has also been halved. The result is quiet utility juxtaposed against dramatic formalism.
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