Still Life Paintings
Still Lives
The still life project began as a practice in order to explore the relationship between my ceramics and painting.
I make a still life out of clay, glazed and arranged on a shelf in front of a square panel made of wood and painted with a colorful pattern. The shadow painted behind the ceramics puts the still life in direct relationship with the painting. The distinction between the 2 dimensions of the panel and the 3 dimensions of the still life are inherent. This relational device gives the viewer an opportunity to bridge the gap implicit in paradox. Opposites are employed in order to inspire the mind's attempt to resolve the unresolvable.
Pattern and decoration create a complex and colorful counter point to the more serious inquiry of the opposing relationship of 2 and 3 dimensions. Hand made original objects, vases and abstract orbs, undermine a cultural proclivity toward mass production.
The imperfect quality of the work is also an important statement about the hand. The presence of the hand is important in the work's expression. Color is used as a distinguishing tool, creating contrast and intensity in the visual impact of the work. Physicality, color, pattern and form impose themselves on the viewer in an insistent cry for attention to the importance of the hand, the body, the materiality of being.
The still life project began as a practice in order to explore the relationship between my ceramics and painting.
I make a still life out of clay, glazed and arranged on a shelf in front of a square panel made of wood and painted with a colorful pattern. The shadow painted behind the ceramics puts the still life in direct relationship with the painting. The distinction between the 2 dimensions of the panel and the 3 dimensions of the still life are inherent. This relational device gives the viewer an opportunity to bridge the gap implicit in paradox. Opposites are employed in order to inspire the mind's attempt to resolve the unresolvable.
Pattern and decoration create a complex and colorful counter point to the more serious inquiry of the opposing relationship of 2 and 3 dimensions. Hand made original objects, vases and abstract orbs, undermine a cultural proclivity toward mass production.
The imperfect quality of the work is also an important statement about the hand. The presence of the hand is important in the work's expression. Color is used as a distinguishing tool, creating contrast and intensity in the visual impact of the work. Physicality, color, pattern and form impose themselves on the viewer in an insistent cry for attention to the importance of the hand, the body, the materiality of being.
