Interdisciplinary. Community. Advocacy. Humor.
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I'm currently working towards my MFA at Rhode Island School of Design. I'm lucky to have an opportunity at such a well known school, but I work hard, and I don't just expect the name to carry me out into the sunset. I'd rather run towards the sunset myself, and see how I can flourish with my hard work. I'm currently drawn to abstraction, the Clay Revolution, landscapes, nature and playing with material studies.
Prior to RISD, I spent time earning my BFA at Adelphi University, in Garden City, NY. It's a small liberal arts university mainly known for business, nursing and theater. It was a good fit for me, I experienced a lot things I may not have going to a specialized school for art. I was able to study abroad twice once in Florence for art of couse, and once for theater in London. Both experience were lovely and helped me to appreciate life. I stayed at Adelphi an extra year to building up my portfolio and worked closely with my professors to gain more knowledge, as well as learn the upkeep of a studio.
I would like to see myself teaching once out of RISD, or traveling from residency to residency if I win the lottery. (you can always dream). I work hard, and would take on different opportunities just to ensure I can keep making my work.
According to my mother, there is a Japanese word Obi, it means happy accident, or unexpected surprise. The word would come up when I’d plan to make something and it didn’t come out as perfect as I wanted it to be. My mother would tell me but it perfect for what it is, it’s an obi. Creating a happy mistake isn’t planned, and it can’t be. The idea of looking at a piece, not for perfection but for possibility has helped me to have an open mind and to embrace the uncertainties in my work. Surprisingly this summer I have found this word, to be made up entirely. But it’s this word that has helped me to move past the bumps that can occur in my work, to question the possibilities and to find better results than just discarding these objects that seem, wrong. I consider my work to originate from questions that come up throughout my process. I am curious of the endless possibilities that can occur with making sculptures in clay.
Recently my work has changed; I am learning to make work differently, venturing off the wheel and into unique ways of hand building. This change in my practice started in the summer while reclaiming clay. By laying out clay slip on a plaster table, pushing the clay sheets together I have found a new textured surface to manipulate. The texture is reminiscent of folds, wrinkles, and by wrapping these layers of texture I as create individual rolls similar to that of a rose. I was more concerned about the movement and texture made during the process of obtaining the form. As single objects I study them differently as a whole together they have one rhythm, one movement. The final installation was around two hundred rosettes that cascaded across the wall.
My most recently work is a series of cross-sectioned rocky landscape forms. They are built by combining a variety of clay bodies to make into geodes. I wait for them to set up then, later they are sliced open, and eventually reassembled in multiple ways. In order to achieve a variety of textures, and layers of colors on each form they are; hand manipulated, additions of clay thick glazes piled, jammed into the form and fired multiple times with a variety of glazes.
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