A poetic power manifests itself in silence. Strength and subtlety intertwine during our encounters with the contemplative. Using these deafeningly subdued experiences, I seek to promote metaphoric and physical relationships with my ceramic vessels, drawings and mixed-media combines.
Often the seemingly unimportant events, when reflected upon, become the most meaningful experiences when they conclude and become part of the past. In instances, forms and imagery are physically connected to one another and also then, permanently separated from one another, mirroring our own connections to the past.
Delicate linear edges provide a point of tension in otherwise dependable forms. These forms reference common shapes found in nature, while simultaneously remaining unidentifiable to a specific object, as a way to articulate the connection of our own self to our past experiences. Selective use of colors heightens the preciousness of these sacred experiences. Both past experiences and natural forms exemplify the “spiritual and non-material value” found in our daily lives; these are precious.
“Inside this clay jug there are canyons and pine mountains,
and the maker of canyons and pine mountains!
All seven oceans are inside, and hundreds of millions of stars.
The acid that tests gold is there, and the one who judges jewels.
And the music from the strings no one touches, and the source of all water.
If you want the truth, I will tell you the truth:
Friend, listen: the God whom I love is inside.”
The Kabir Book: Forty-Four of the Ecstatic Poems of Kabir,
Versions by Robert Bly