It is easy to see from the image featured below why the rocks themselves were sought after with great connoisseurship. Valued for their intrinsic physical and visual virtues it is here that western perceptions of abstraction intersect principles that the Chinese scholars prized. The rocks themselves stand president to the integrity to which abstract sculpture aspired to. Regardless of environmental situation the peculiarity, beauty, and elegance of the scholar rocks simply lie in the subjective elucidations and assumptions of what these objects could be, through ambiguity they have an incredible amount of imaginative potential and allow a variety of interpretations.
opposed to a direct evocation to form and texture, my current body of work could be described as ambiguous, almost fictitious in its contrived representation of geological landforms.
I see my work as a modern counterpoint to the scholar rocks discussed and featured above. Much like the scholars, i hold similar ‘rules’ or principles of what makes ‘the perfect object but ultimately unlike the scholar rocks, there is an element of chance and risk due to the unpredictable nature of kilns and ceramic glaze. The object going into the kiln is very different to the one coming out.
the term natural for me is something that is masked in mysticism. The elicit nature of my work much like the term natural itself is shrouded in ambiguity to allow the audience to impose their own subjective feelings, sensibilities’ and ideas of what the work/composition might be. We as beings although different in our inherent and learned personalities and cultures all can comprehend and visualize similar phenomenon but what those phenomena mean to us can vary in incomprehensible ways.