with the visiting artists from the Tel Hai Symposium organized by the Ceramic Artists Association and the Institute of the Arts Tel Hai.
With the generous support of AIDA
Masterclass on Thursday 3/12/15 at 19:00
With the generous support of Ruth Corman and the Designer Craft Foundation
Sara Moorhouse and Nuala O’Donovan
Masterclass on Tuesday 15/12/15 at 17:00
Advance reservations: 03-6874150
Entrance: 70 shekels for each class and 50 shekels for members of the CAAI and Benyamini students
An American artist who lives in Blairstown, New Jersey with an independent studio since 1979. He works in various media including stone, painting, metal, wool and silk weaving, paper and papyrus. He is mainly interested in the painted surface and has developed numerous techniques for post firing including smoke and non- ceramic materials. His work is found in galleries and museums around the USA and in the collection of the Whitney and the White House.
The development of my work into ceramics, colour and spatial perception began with a Masters degree at Cardiff in 2003. The work explores the ways in which spaces within landscape appear altered depending on the ever-changing colours of season, weather, time and farming. The bowls act as a canvas for paintings that distil specific landscape scenes, perceptibly altering the size, depth and shape of the form by the applied colour. The forms can be made to seem wider or narrower, deeper or shallower, heavier or lighter, or they may appear to undulate, bend, move or hover by the juxtaposition of finer lines. The viewing of both inner and outer surfaces together enables me to exploit colour connections and visual play from one side to another, emphasising or flattening the dimensionality of the form.
Notions above were the topic of 18 months studio practice before embarking on a PhD in March 2006. This was undertaken to develop the ideas with more emphasis upon the spatial phenomena in relation to colour theory
My work combines regular pattern with the characteristics of irregular patterns and forms from nature. Each element of the pattern is individually made, the form is constructed slowly over a period of weeks or months. The finished forms are a result of an intuitive response to the direction that the pattern takes as well as the irregularity in the handmade elements of the pattern.
My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns. The history behind a scarred or broken surface is what fascinates me. The evidence of a response to random events visible in patterns in nature, is testament to the ability of living organisms to recover, to respond, and to continue growing and changing. It is the imperfections in the patterns caused by a unique experience that are evidence of the life force in living organisms