Okeweemee footed bowl
Okeweemee footed bowl
N.C. Wild Clay, Okeweemee Clay, and Standard 105, gold and horsehair reduction
N.C. Wild Clay, Okeweemee Clay, and Standard 105, gold and horsehair reduction
Lid for Okeweemee Catwaba and N.C. Wild Clay
Lid for Okeweemee Catwaba and N.C. Wild Clay
golden lidded Urn
golden lidded Urn
detail of golden lidded vase
detail of golden lidded vase
Nouveau Horsehair
Nouveau Horsehair
novpot2.jpg
Carter Bowl
Carter Bowl
il_570xN.1022259443_3p42.jpg
il_570xN.1021514137_8lh8.jpg
moore_1_Vizcaya.jpg
vizcaya2.jpg
moore_2_Lidded pot.jpg
vasepca.jpg
smliddedpotsm.jpg
blueandWhite.jpg
large horsehair pair.jpg
naked raku.jpg
moore_1_22kgoldandhorsehair_full.jpg
lidded horsehairwithgold.jpg
newpot.jpg
2017 lidded horsehair/gold
2017 lidded horsehair/gold
lidded2017.jpg
smallcarter.jpg
il_570xN.974469586_7x8i.jpg
Large bowl
Large bowl
Nouveau Horshair and Gold
Nouveau Horshair and Gold
Okeweemee footed bowl
Okeweemee footed bowl“Okeewemee with feet”This clay body is from Star N.C. and fires to a beautiful pink. Burnishing the clay in its leather hard stage creates translucent layers of smoke and line. The feet are based on three pawed animals and are in a tripod configuration. From the beginning of the creation of this piece I made time lapse videos of each stage of its creation and posted them on Instagram. I enjoy seeing other artist’s processes and the videos help me with my workshops. When I teach workshops, my students can look at the feeds, reinforcing the techniques that I am teaching.
N.C. Wild Clay, Okeweemee Clay, and Standard 105, gold and horsehair reduction
N.C. Wild Clay, Okeweemee Clay, and Standard 105, gold and horsehair reductionMy work now is based from the Classical, Greek and Art Nouveau forms. These pieces are methodically built over longs periods of time, sometime many months. I will then Raku fire them for horsehair reduction. The collision of the forms and the indigenous firing process is what the pieces are about.
Lid for Okeweemee Catwaba and N.C. Wild Clay
Lid for Okeweemee Catwaba and N.C. Wild ClayOkeweemee Clay body fires pink at cone 22. The ornament on top is created by inserting my thumb into the clay while the piece turns on the wheel. It is bisque fired, gold fired and horsehair fired.
golden lidded Urn
golden lidded Urn. The fusion of the Indochinese and Western cultures is of great interest to me. Horsehair reduction and gold are the surface elements and the forms are derived from classical and Art Nouveau periods.  I am drawn to the intimate and painterly approach of horsehair reduction. The color of the heat on the ware creates the canvas.  The act of painting with burning hair creates smoke and line which embeds into the layers of burnished clay.  This looks like translucent layers of line and smoke. The process demands acute awareness of specific moments in time. The temperature and color dictates the moment when the painting of line and direction of smoke is imprinted into the burnished clay.The piece tells the story of each of those moments.  A wisp of smoke created by a hard line of horsehair reduced at a moment when the temperature of the piece is perfect. The fluidity in which my hands work, while my eyes seek clues for direction of process is instinctive.
detail of golden lidded vase
detail of golden lidded vase I am drawn to the intimate and painterly approach of horsehair reduction. The color of the heat on the ware creates the canvas.  The act of painting with burning hair creates smoke and line which embeds into the layers of burnished clay.  This looks like translucent layers of line and smoke. The process demands acute awareness of specific moments in time.
Nouveau Horsehair
Nouveau Horsehair. Horsehair reduction and gold are the surface elements and the forms are derived from classical and Art Nouveau periods. 
novpot2.jpg
Carter Bowl
Carter BowlI am drawn to the intimate and painterly approach of horsehair reduction. The highly burnished forms create the canvas.  The act of painting with horse hair is fast and fluid.  This looks like translucent layers of line and smoke. The process demands acute awareness of temperature, which dictates the moment when the painting of line and direction of smoke is imprinted into the burnished clay.
il_570xN.1022259443_3p42.jpg
il_570xN.1021514137_8lh8.jpg
moore_1_Vizcaya.jpg
vizcaya2.jpg
moore_2_Lidded pot.jpg
vasepca.jpg
smliddedpotsm.jpg
blueandWhite.jpg
large horsehair pair.jpg
naked raku.jpg
moore_1_22kgoldandhorsehair_full.jpg
lidded horsehairwithgold.jpg
newpot.jpg
2017 lidded horsehair/gold
2017 lidded horsehair/gold
lidded2017.jpg
smallcarter.jpg
il_570xN.974469586_7x8i.jpg
Large bowl
Large bowl“Bowl” 12’Wx12”Dx5.4”HThis is a large piece, I was able to create more designs with gold and horsehair on the clay.   During the firing, I experienced many more challenges and heightened anxiety because of the size. I was rewarded by the piece becoming one of my favorites.  Every moment was perfectly represented in line, smoke and gold.
Nouveau Horshair and Gold
Nouveau Horshair and Gold“Nouveau horsehair” I am intrigued with the fast firing process of indigenous peoples juxtaposed with the nouveau form. The long tedious building of the form is then subjected to a fast-intense firing process. Unlike the making of the form there is less control over the events that happen to the piece when it is being fired. Wind, cold and time add to the precariousness of the journey the piece goes through during the firing
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