In my work I attempt to address several different directions of thought simultaneously. One of the most important and overriding themes of my work since the 1990’s has been American regionalism. When I turned my back on a promising career as a conceptual artist, and began to make pots in the 1990’s it was in my mind the ultimate outsider art. Ceramics in America has operated on the fringe of the “real” art world for decades, with only a couple of names (Voulkos and Aarneson) appearing in art history texts. When I finally settled on a mature style, I wanted to pay homage to my gene pool, and my sense of self, and to create works that might have been created by my grandfather using “real” license plates, angle iron, tin, and bits of leftover plumbing. The irony of the work resided in the fact that the work itself was created at such a high level of craft that it could not have been achieved by an “outsider” artist.
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