The nature of this glass work started just about two years ago right before my BFA show. I have not been able to give my full attention to this work over the past years, though there has become a steady consistency of new iterations of these works since my residency at Lillstreet. Articulating the work... There is a sense of how i place the panels of glass and their position to the wall. How do the lean on or up against? The act of painting or placing the sting around the glass are decisions that are made in response to the panes of glass themselves, yes, but more importantly how these marks respond and cast themselves on to the wall. the relationship of them or the threshold between them? Like the threshold of the interior and exterior of a glass door?
The art movement Support/Surfaces reflected and responded to the structure of painting.
To show what was hidden, to deconstruct and individualize each of its elements. They thought to isolate the two principle consistent elements of conventional painting (canvas & stretcher), to strip the medium down to its phenomenological foundations and then begin to reconstruct it without in any way forgetting or obscuring those foundations. http://www.artcritical.com/2004/02/01/the-painting-undone-supportssurfaces/
These materials for me are needed to present the composition. the glass casts the shadows and the shadows extend past and further than what the glass can accomplish. There is a depth here, against the wall they are, but not flat, not stuck, there is movement. What are we looking into or seeing around us? The reflective quality of the glass leaves us open to see more.
Material Intersection: High Wire Clay, insulation board, wire, thread. 2014
Wire over Roof Clay, insulation board, wire. 2014
Always maintain a shift in the work that you are making. It's hard I know.. Veering off the path, removing the blinders, straying from certainty, however you want to put it. As makers, artists, thinkers, we need that constant flow of up and down, it keeps us on our toes. I mean we can't walk on our toes all the time, thats just silly. We need to be grounded flat on our feet at times, but to always be grounded keeps us from experiencing and growing from what we already know.
I made these little sculptures in response to the open call for Small Favors at the Clay studio. It took the open call for me to stray away from my daily practice. Find a reason and stray....
oh and exciting news is that the Material Intersection: High Wire was selected for this years Small Favors show!
Wow, it's already March and I have a lot going on this month, one reason being it's my birthday, which tells me how much closer I am to hitting 30. The real excitement though is my participation at this years NCECA (National Council on Education for the Ceramic Arts). This year the conference will be held in Milwaukee, which so conveniently is in close proximity to where I am living right now. At the conference I will be part of a Panel Discussion with two artists (Joanna Pike and Chase Folsom whom are current residents at The Clay Studio Philadelphia. I will also be one of 12 artists part of this years Process R
5:15pm - 6:00pm Thursday
Nomadic Artists: Urban Residencies in Ceramics
By Chase Folsom, Joanna Pike, Joe Kraft The panel consists of three resident artists; Chase Folsom, and Joanna, from The Clay
Studio in Philadelphia, PA, and Joe Kraft from the Lillstreet Art Center in Chicago, IL. Each presenter will provide candid thoughts on moving his/her studio practice to an urban situation.
1:00pm - 1:30pm Friday
Process: Form, Handle, Line By Joe Kraft
The cup is a 3-dimensional composition. Its function, simplistic in nature, has many variables that require attention. Kraft will demonstrate his sensibilities about hand pinching cups and the finishing process, alongside the importance of balancing his forms using pinched handles and simple line drawings through terra sig.
Ceramicist, artist, traveler. Until the funds run out.