The more accessible art is to the public, the more
we can hope to educate and enhance the lives of a few at a time. Whether it is
accomplished through schools, government programming, non-profit organizations,
or a combination, it is important to realize the benefits.
An artist’s obligation to society is to create
work that will challenge us all to keep an open mind. Objects of art, whether
it is a painting, photographs, sculptures, or a piece of pottery can evoke emotions
and feelings that become meaningful to us. If art were left alone in a dark
room, than so would society be in a dark room itself. The artists of today are
certainly not the artists we study. All of the rules have been changed; in fact
there are no rules. There are only concepts.
Somewhere along the line in my life I picked up the
four rules of life and making clay art: 1. Show up 2. Pay attention 3. Tell the
truth 4. Don’t get attached to the results.
We want to
create and work, hopefully, on the edge of life. “If you are not working on the
edge, you are taking up too much room.” We must make the pieces that fail, so we can
produce the work that we are most proud of. The failed pieces become our tools
making clay art. The transference of information through my work helps me
educate and share what I feel is important.
The form is the essence of the clay. I choose
identifiable forms, pots that in another setting perhaps would be functional. A
level of consciousness, beyond simple recognition, is required if one is to
open their mind and heart to what we call art. When I decided to break away
from the form and fire, I faced a conscious level that I may not have
understood at the time. Creating a surface for the form by painting an image,
was not something I had ever done before.
The choice of using botanical illustrations
was not intended to decorate with pretty flowers, but rather embellish the
surface with a reaction to plants and nature. The style in which I paint these
images comes from my background as a printmaker. I get up every morning, and go
to the studio to work on something I find very difficult to explain. I tend the
fire, so the flame does not go out. How do I know if the work is good, most of
the time this is not an intellectual response, but rather a sensation,
something you feel within you.