I embrace nostalgia, and use it as a tool to create connections between the viewer and very personal imagery. At the crux of this work lies a need to remain connected with loved ones at any cost, even at times having to conquer what may be viewed as the most impossible of obstacles. There is an attempt to illuminate the underlying poetry of life and an unseen thread that binds us all.
I am fascinated with irrigation stand pipes for their form, surface and how they can become identifiers marking change in a landscape. On trips through California's Central Valley I witness how quickly urban sprawl consumed and covered fertile agricultural land with asphalt and shopping malls. Many stand pipes once used for irrigation remain, though now non-functional, silently dotting a new more sterile landscape. This work is in response to the beauty of those forms.
I was challenged to create objects whose interiors and exteriors had an identifiable relationship. These vessel forms were all produced on the wheel but were altered through the additions of extruded and hand built posts or "Fingers". Glaze application and surface enrichment help to strengthen this relationship. I was most interested in how the ends of the fingers delineated an alternate interior volume.
This morbidly titled series, ironically found its genesis in a love for my home town. How does a city embrace progress and technology without loosing it's historical and in my case, architectural identity? Some cities have done a better job of it than others. The work here sheds light upon the tragedy and celebrates the "survivor".
The functional vessel for me is much more than what its title implies. I view my functional work as an extension of my sculptural endeavors with regard to form and surface, and treat many as canvases for formal expression. Although the wheel is used during the production of elements in much of my work, it is in function that I believe it exhibits it's own unique capabilities. Beauty can be found in the most basic of objects.