HANB BUILT CLAY OBJECTS
I approach clay with attention rather than intention and only have a vague idea of what the final object might look like. It is by paying attention to how clay responds to manipulations that I can see the new object coming to life, the form suggesting itself through the different stages of the shaping process. I like to think I work in collaboration with clay.
Details are addressed with care, taking the time needed to resolve any issues the best I can at this point in time. Glazing is also a very important step: each object, in its uniqueness, requires a surface decoration that Ã¢â‚¬â€śhopefully- will add up to a harmonious whole, taking into account the atmospheric reduction of a wood firing kiln as well as the large part played by toasting flames and melting ash. Finally, I surrender my clay objects to the fire never knowing what to expect while hoping, all through the intense hours of stoking, for unpredictable surprises!
Petit vase, stoneware, wood fired cone 11
ONE BRUSH STROKE
When you succeed at shutting off the mental process, it's amazing what the brush -ideally a handmade cedar bark brush- dipped in the unbelievably black Chinese ink can achieve on the whiteness of the page! Hold on, wait in silence and the brush starts dancing on the white of the paper. One brushstroke and it's over before you know it!
I like what Jack Wise, Canadian artist, was saying: "If a (...) composition has some really raw bad stuff in it, then I take responsibility for that but if something comes through that's creatively unique, then as the Japanese say "Muga" / "It's not I who do this", it's a larger self which we are all composed".
"Once in a blue moon", Chinese Ink and watercolour
I never imagined that I had any abstract fibers in me until I was exposed to Lila Lewis IrvingÃ¢â‚¬â„¢s powerful and moving Ã¢â‚¬Å“non-objective abstractionsÃ¢â‚¬Âť.
Acrylic, with its textural viscosity, is the perfect medium to support such abstraction. The paint is barely diluted before being poured on paper or canvas, which allows me to move it and shape it following my intuition and paying constant attention to what is happening rather than imposing and pursuing my own intention.
The essential Ã¢â‚¬â€śand the challenge- of this approach which so strongly attracts me is to empty the mind and maintain this meditative state so the gesture can manifest itself freely.
Since my signature is in the back of the paintings, you can hang them the way you want.
"Golden pond", acrylic on TerraSkin