These sculptural pieces owe their existence to my devotion to clay itself and Japanese aesthetics. Through study of traditional Japanese art forms, I developed a deep appreciation for the use of space as the definitive design element. The principles that govern the meditative spirit of ikebana , tea ceremony and calligraphy appear in my work. These venerable disciplines depend as much on what is absent as what is present. In effect, this central concept finds expression in my work in the form of ‘bordering’ emptiness.
This concept aligns with a disposition toward acrobatic lines, fluid and amorphous expression, and an unfettered approach to the clay. Raku firing provides the perfect medium to express these concepts- surrendering to this firing technique's unpredictability is an essential part of animating the work. Using this method is a radical way to ensure the least amount of conscious interference in the work’s emergence.
Found objects are used to impress designs and sculptures are slab-built to facilitate spontaneous, unmediated effects. Other pieces are fired with oxides and subtle, muted glazes, meeting the edge of creative energy without conscious control and, most importantly, minimal restraint.
Recently she has discovered a new medium: paper collage. Through her own version of the Japanese art called ‘chigiri e’, she expresses a deep reverence for nature using both Japanese washi and Italian papers. This art form conveys the same immediacy of expression and incorporates a three dimensional quality reminiscent of paper sculpture. Chigiri e also has an element of unpredictability- tearing the paper contributes to its spontenaiety, as well as its rapid assemblage.
The majority of the images on this site are the work of the talented photographer, Dana Davis