When you read the following please be assured I have not lost my mind. Instead understand that I have always been interested in the freedom that art allows, in its objects, and as a place to change how one understands the lived experience.
How does one use these rather functional, prescribed words to describe what it means to make art? To, in some small way, describe the way in which the mind works, or sees, or hears, and how this impossibility of describing and transcribing the infinity of life and imagination, which, trapped here in the folds of history and the future and the impossibility of space/universe/mind/god/nothing/, even color, color!!!, try in some way to describe what it means to create objects, art, and then tell you what those objects are and or what they mean. How wonderful that you could read these words and almost understand some semblance of the utter confusion that I feel in attempting to live in this world, this culture, where I am supposed to be rational, and a good member, stay skinny and in shape, eat well, be healthy, be rational/logical, get rich, influence people, get famous, and yet create objects that capture the vastness of imagination, that while expressing my own fear and doubt and happiness and wonder and confusion as to what it means to exist and have the freedom and power to shape materials, to touch, wonder, love, be confused, and want to cry/laugh/breath - chaos, change, c c c c c c c c, letters, shapes on the page. Below are the words I am expected to write, how beautiful to have the choice.
My artistic enthusiasm arises from curiosity and an interest to explore conceptual notions, media and technical processes. The limitless bounds, possibilities, and formlessness of artistic practice provide a groundwork for investigating my understandings and interests in the world.
I often use clay due to my familiarity with it materially, and as it provides an excellent platform of creation due to its vast potentiality. Specifically, I am drawn to its malleability and its ability to capture the haptic experience that acts upon it. Historically, through its longevity, ceramic materials archived cultural ideas, which presents a rich conceptual groundwork as it records those occurrences. This contrasting quality, of being both ephemeral and permanent, provides interest, both materially and conceptually.
In short, I see myself as a maker. There is satisfaction in being able to control and alter materials, to produce those things that can be helpful, or make the world a more interesting place. My hope is that the work raises questions, creating some sense of wonder in the viewer, a wondering of what is, and what could be.