Fat Plants
Statement Fat Plants
I am inspired by the body, it is the shell in which our soul resides. I see beauty and inspiration in all shapes and sizes of the body. I use my father’s two-dimensional figure drawings as reference images and inspiration. My work is about the shapes that different bodies create. The live model is a source of information for my father’s perception. A sense of touch translates the form into his 2D interpretation of the 3D form. From the 2D drawing I, by the sense of perception, transcribe the form into a 3D form by the sense of touch. The viewer is the final “translator”. By the finished piece of work the body has been viewed and interpreted three different times. I am intrigued in the different ways the female body can be interpreted by the audience in my artwork. Reactions from viewers have compelled me to look beyond my natural interpretation of the women’s body.
My work is primarily ceramic sculpture but I fuse my passion for painting into glazing and applying color to my pieces. I am interested in how the body, when sculpted and painted, can be distorted, replicated, objectified, and idealized. I am pushing the human body further by reinventing my own ways of reassembling it. The pliability of clay continues to intrigue me. With ceramics I am physically touching and maneuvering the material from beginning to end. Touch is so important in my process; therefore the viewer can touch my work if desired.
In exploring more outlets for inspiration I have been drawn to the physicality, desirability, and abnormal features of succulents in relationship to the human body. Succulents retain water to survive comparable to the way humans survive. The human body is made up of 60% water. Succulents can be cut up, replanted, and thrive elsewhere. I have begun to explore this concept in my work. Even though real bodies cannot be cut up and replanted in other areas, it is possible with clay.
For the first time in my practice I am letting go. I am not centered on the end result. I am focusing on the process. In fact at times I have no idea what I am doing, I just do what I want at that moment. I am beginning to explore abstraction and imperfection, something I have always appreciated in other artwork.
I am inspired by the body, it is the shell in which our soul resides. I see beauty and inspiration in all shapes and sizes of the body. I use my father’s two-dimensional figure drawings as reference images and inspiration. My work is about the shapes that different bodies create. The live model is a source of information for my father’s perception. A sense of touch translates the form into his 2D interpretation of the 3D form. From the 2D drawing I, by the sense of perception, transcribe the form into a 3D form by the sense of touch. The viewer is the final “translator”. By the finished piece of work the body has been viewed and interpreted three different times. I am intrigued in the different ways the female body can be interpreted by the audience in my artwork. Reactions from viewers have compelled me to look beyond my natural interpretation of the women’s body.
My work is primarily ceramic sculpture but I fuse my passion for painting into glazing and applying color to my pieces. I am interested in how the body, when sculpted and painted, can be distorted, replicated, objectified, and idealized. I am pushing the human body further by reinventing my own ways of reassembling it. The pliability of clay continues to intrigue me. With ceramics I am physically touching and maneuvering the material from beginning to end. Touch is so important in my process; therefore the viewer can touch my work if desired.
In exploring more outlets for inspiration I have been drawn to the physicality, desirability, and abnormal features of succulents in relationship to the human body. Succulents retain water to survive comparable to the way humans survive. The human body is made up of 60% water. Succulents can be cut up, replanted, and thrive elsewhere. I have begun to explore this concept in my work. Even though real bodies cannot be cut up and replanted in other areas, it is possible with clay.
For the first time in my practice I am letting go. I am not centered on the end result. I am focusing on the process. In fact at times I have no idea what I am doing, I just do what I want at that moment. I am beginning to explore abstraction and imperfection, something I have always appreciated in other artwork.