I work with porcelain for its purity and translucence. It allows one to look into and through the pot, not merely at it. In this way, the piece becomes metaphorical. It becomes rich with potentiality, conceiving greater meaning; it transcends itself and becomes an instrument for transformation. Through my work, I attempt to resolve function and beauty into a presence; for it is through presence that beauty suspends the soul in timelessness, and it is here the soul expands to sense more than itself. I intend to continue in the great tradition of pottery-making as exemplified by my teachers at the SUNY College of Ceramics at Alfred University: Val Cushing, Daniel Rhodes, as well as my undergraduate teacher of ceramics at SUNY Cortland, John Jessiman.
16 1/9" x 7" $400
Lidded Tan Footed Jar
Hand Thrown Porcelain, Fired to Cone 10, Foodsafe, Dishwasher safe.
14"h x 8" $350
"Blue Winged Vase"
Porcelain, 14 5/8"h x 8 1/2"w, $600
Porcelain, 16"h x 8.5"w, $500
Green Lidded Tureen
18"h x 9 7/8"
"Large Green Lidded Jar"
Porcelain, 21"h x 11"w, $1200
"Lidded Blue & Black Jar"
Porcelain, 10 1/2"h x 8 1/4"w, $350
The nature of the art experience for me is one of self-discovery and communication. In one sense, it is a very private and personal journey in search of order, reason, reality and beauty. In another sense, it is a very public act in the attempt to express and share, with others, my realizations and discoveries.
The principal concern of my art is the articulation of the magnificence and nobility of the human spirit; and a celebration of my African heritage. The material I use is clay. The primary vehicle for expression is the vessel.
In my view, the vessel represents unique social and spiritual connections and associations, to all people, that do not exist in non-vessel ceramic forms. There exists in the vessel a timelessness and universality that records, contains and continues the very essence of humanity.
My fascination for the landscape has deepened over the years into an appreciation of the details. These fragments suggest that there is an orderly process in the chaos of the natural world. Within my work I use abstracted forms, particularly rhythmical and repetitive patterns, which offer reference to this ordered nature. Finding my own order in the chaos of the world is further explored through mathematical patterns and the concepts of quantum physics whilst maintaining a visual language of reduced and economical form.
Infrastructure II, 2016, Ceramic, 9 Panels at 30cm ea.