This work is neither purely sculpture nor pottery, rather a hybrid, containing aspects of both. I continue to explore the potential that pottery possesses as a metaphor for the human body. Having as its intellectual foundation the crucible, the industrial vessel used to hold molten metal, I am now investigating the new material and process of ABSi rapid prototyped plastic.
The emphasis in this work is placed on the interior, with a direct link to the structures of the human body. At times, the interiors may exhibit a physiological sensuality, with various degrees of physical (and resultant psychological) complexity owing to the more unsettling and raw surfaces deep within the form. It was my hope that viewers are confronted with, and fascinated by, an almost voyeuristic journey through visceral, internal spaces.
The exterior vessel form is constructed using ABSi plastic, formed by a Stratasys rapid-prototype machine from a digital file created in a computer. Light is a critical formal element in the creation process. Where thin, this new plastic material allows for an extremely translucent surface, exposing a diffused glimpse of the encaustic “interior” which is suspended from the top of the form. This is in opposition to the distinct forms when viewed from above. The austere, severe exteriors, with their technological appearance that may mimic simple pottery surface design, are contrasted by the corporeal nature of the interiors, which reflect the notions of body muscles and joints.
The marriage of this newest form of industrial technology, with an encaustic medium originally invented by the ancient Greeks, allows me to further investigate the aforementioned metaphor in the context of contemporary society, calling into question the cultural significance of new industrial materials and techniques.
The emphasis in this work is placed on the interior, with a direct link to the structures of the human body. At times, the interiors may exhibit a physiological sensuality, with various degrees of physical (and resultant psychological) complexity owing to the more unsettling and raw surfaces deep within the form. It was my hope that viewers are confronted with, and fascinated by, an almost voyeuristic journey through visceral, internal spaces.
The exterior vessel form is constructed using ABSi plastic, formed by a Stratasys rapid-prototype machine from a digital file created in a computer. Light is a critical formal element in the creation process. Where thin, this new plastic material allows for an extremely translucent surface, exposing a diffused glimpse of the encaustic “interior” which is suspended from the top of the form. This is in opposition to the distinct forms when viewed from above. The austere, severe exteriors, with their technological appearance that may mimic simple pottery surface design, are contrasted by the corporeal nature of the interiors, which reflect the notions of body muscles and joints.
The marriage of this newest form of industrial technology, with an encaustic medium originally invented by the ancient Greeks, allows me to further investigate the aforementioned metaphor in the context of contemporary society, calling into question the cultural significance of new industrial materials and techniques.
