REPOSITORY
DEVELOPING STRATEGIES ON APPLICATION
In this conversation, application as a term can range from visual surface treatment to the actual methods of which materials are implemented. As an artist, working primarily in the round, there’s a
congruent desire that aligns in constructing and the development of technical processes.
I’ve now been making in ceramics for half a decade and accumulated an emerging need to nurture my practice with foreign supplemental ways of making. Over several years, mixed media integrations has been a driving force as a creator, though I may have limited my practice by believing all my solutions can be found in clay. Surely it can, but there shouldn’t be a need to make my artistic discipline harder than it needs to be to for the questions I want my work to answer. This leads me to thoughts on semiotic relationships and artists that align with my sensibilities.
A month away before I immerse myself in glass-making processes at pilchuck glass school. I’ve been thinking a lot about boundaries, peripheries, and materials—like, how they relate to each other, how WE as humans relate to each other, and the world, through invisible barriers, threads, and visible veils.
Right now I’m exploring that through the lens of glass and symbols. I’ve been developing a personal visual language—kind of like runes or totems—that stem from both queer symbology and Taíno Caribbean motifs. These marks might act as future artifacts, emotional maps, or shared codes of care. Ever since my steady inclusion of identity with the MOCA NOMI public art installation, I’ve been more open to pulling from my own personal narratives and lineage.