The objects that I am constructing, through various processes of hand-building and wheel throwing, translate the ideas of what landscape is, then distort those ideas through imagination, wonderment and exaggeration. What was the land we remember? What is the land we saw from a car window? What happens when these ideas begin to blend and distort together to create something abstracted from what is truth? I am attempting for the forms to recover a sense of sight lost through age. The objects become a reaction to this and encourage the viewer to experience a sensation they may have forgotten since childhood, when they were untainted by the ideas of logic and calculated truth.
From forms that twist and bend to objects more vertical than horizontal, there is a connection between the object and use. What are these for and where have they come from? They have come from my hand and are rooted in the classic structure of vessel making. These objects are placed together, interacting with a platter that has begun to share the same qualities. The distinction between vessel and sculpture becomes less clear. A rolling rim of a platter changes into a landscape. The jagged edges inside it compromise function; mounting it on a wall further transforms it into a window frame leading us outside of the gallery. An object that is larger than the pedestal it rests upon creates a void inside its walls, but its size and height prevent viewers from experiencing beyond the exterior. The works strike up the same sensation that we feel as children, of wanting to know what is beyond our knowledge. All these forms interact on a level of curiosity and challenge the conventional ideas of what constitutes landscape.
|Commitee:||Cooper, Ivy, Dresang, Paul, Duhigg, Thad|
|School:||Southern Illinois University at Edwardsville|
|Department:||Art and Design|
|School Location:||United States -- Illinois|
|Source:||MAI 56/04M(E), Masters Abstracts International|
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