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I have
been investigating the potential of woodfiring for about 25
years.
The
woodfired anagama or tunnel kiln produces an endless variety
of colour and texture which I attempt to mate to vessel form so
they become inseparable. The character of my work is almost
anti-perfection, partly because of the process and partly because
it suits my temperament. Rather than repeating something which
works I prefer to continually explore something which may not, so
it would be a mistake to suggest the work is traditional. Another
mistake made by the uninformed observer is to directly relate the
work to Japanese ceramics, although my work seems to carry
references to natural objects and phenomena, an emphasis shared
with much Japanese ceramic work.
Using the
vessel as base creates a tension between the man-made and the
organic or natural which appeals to me and which is missing in more
abstracted forms. The best results have a feel of inevitability,
when there is no other way it could be.
This
happens rarely.
Exhibition: Alchemy in Clay
10th November -
3rd December, 2006
KAZARI
collector
All works
are stoneware, woodfired in my anagama kiln at Boolarra
South, Victoria. Some have glazes applied; all show evidence of the
interaction of flyash in the kiln with the clay of the
pots.
Click on images to enlarge
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