Kari Thornton
I break away from the traditional sense of functionality and teeter on the fence between function and sculpture. I am captivated by architecture as well as mechanical and organic forms, while drawing inspiration from artists such as William Daley, Lee Bontecou, and the Japanese aesthetic. My process of cutting and re-assembling clay creates a new form that twists, turns, and allows for an innovative vessel to take shape.
By disrupting the pattern of historical reference with reconstructing deconstructed forms, I endeavor to develop a new pattern within each form. I encourage the viewer to first look with renewed curiosity and then examine my pottery as not only passive sculptures but also appreciating the form with functionality.
I began to play and ask, “What if?” as I emphasize forms and resemble textiles through incorporating intricate graphical decals, glaze-resistant masking techniques, and my patterned process of cutting and re-assembling.
I am intrigued by the variety inherent to the methodical and repetitive ceramic process of throwing, cutting, and re-assembling. Stemming from the history of quilting and jamming puzzle pieces in the wrong place in a child-like manner, I push for each piece to be different despite the repetitive process. I want to encourage the viewer to wonder if the inside matches the outside through the use of patterns, color, and the turning of the form.
Along with my ceramics work, I create a body of drawings that are fragmented compositionally through the juxtaposition of textile designs, topographical maps, and detailed imagery. Each drawing represents a personal location that holds a specific story of a time in my life that I hope the viewers can relate to. I enjoy the subtlety of my story told through my drawings so that the observer can first appreciate them purely for aesthetic reasons and then re-connect the dialogue as another opportunity for re-assembly. I enjoy the push and pull of the clay work and the drawings when shown together. The idea of reconstructing broken imagery and broken memories into something whole and new is what pulls me to create.
By disrupting the pattern of historical reference with reconstructing deconstructed forms, I endeavor to develop a new pattern within each form. I encourage the viewer to first look with renewed curiosity and then examine my pottery as not only passive sculptures but also appreciating the form with functionality.
I began to play and ask, “What if?” as I emphasize forms and resemble textiles through incorporating intricate graphical decals, glaze-resistant masking techniques, and my patterned process of cutting and re-assembling.
I am intrigued by the variety inherent to the methodical and repetitive ceramic process of throwing, cutting, and re-assembling. Stemming from the history of quilting and jamming puzzle pieces in the wrong place in a child-like manner, I push for each piece to be different despite the repetitive process. I want to encourage the viewer to wonder if the inside matches the outside through the use of patterns, color, and the turning of the form.
Along with my ceramics work, I create a body of drawings that are fragmented compositionally through the juxtaposition of textile designs, topographical maps, and detailed imagery. Each drawing represents a personal location that holds a specific story of a time in my life that I hope the viewers can relate to. I enjoy the subtlety of my story told through my drawings so that the observer can first appreciate them purely for aesthetic reasons and then re-connect the dialogue as another opportunity for re-assembly. I enjoy the push and pull of the clay work and the drawings when shown together. The idea of reconstructing broken imagery and broken memories into something whole and new is what pulls me to create.