Thru The Crack
This series began as an exploration of the effects of the urban environment on human identity.
Thru the Crack Installation
Creating forms by stratifying and stacking thick and chunky or paper thin slabs of porcelain clay, ripping and tearing edges, marking and stretching the surfaces, collaging in scraps and detritus, these rough towers are more geologic than architectural.
Tru the Crack (Pina).
Working against the purity of the white material, this dramatic terrain traversed by washes of minerals and oxides, layers of matt and metallic glazes are pockmarked by volcanic crater glazes. This distressed surface aims to convey the idea of a long weathered edifice or perhaps an artifact that has long been buried.
Thru the Crack (Carmen).
The vertical motif of the stacked sculpture plumbs the depth of experience and brings submerged content to the surface. This process is a remembering of a long forgotten totality that reorders the imagined past.
Thru the Crack (Serge).
Steel mesh, coated with clay and incorporated into the sculpture, warped and melted from the high temperature firing, references a post-industrial ethos. the buildings that are alluded to are not the works of celebrated architects but the shanty towns and vernacular structures created by people in response to available materials and need.
At the crown of each tower a figure emerges, or, is embedded in, this chaotic ordering of materials and processes. They are dancers who’s gestures convey a world of intensity, emotion and physicality.
