Teresa & Helena Jané: 060710 (front view), 2011
Teresa & Helena Jané: Cónicos (yellow), 2007, ceramic, handmade flat face, Top d=1,7” / H 1,3”/Base d=1”
Teresa & Helena Jané: Querubim, 2006, cabinet Knob, ceramic, handmade flat face, Face and Base d=1”/ Height 0,9”
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→ The full interview with Brian Kakas is featured in Ceramics Now Magazine - Issue Two.
Ceramics Now Magazine: There is visible consistency in your creation. What was the starting point in your investigation with ceramic art?
Brian Kakas: The starting for my works comes from the traditional vessel and understanding the primary elements in design. I have taken the elements of the foot, body and lip of a pot and applied them as more structural elements within my sculptural designs. Development of a language within these components has allowed the works to maintain continuity through the progression of forms. The works become more refined as I focus on transitions of lines and volume. Complexity in the structures, are inspired from marine life, geological formations, buildings, bridge design and armor. With the creation of all my works I try to stay true to the inherent properties of the materials.
Your works reveal a very rigorous methodology. Tell us more about the process of constructing them. Do you make preliminary drawings?
I used to draw blueprints for my pottery and sculptures. But the works always seemed to lose something in the translation from 2D to 3D. I think the spontaneity of the sketch and energy never quite translated. Once I began using slump and drapes molds I began to only sketch gestural drawings with ink. This allowed me take an idea (not a concrete design) and began to find new forms through exploring hidden lines within objects while only maintaining the idea of the gesture. I apply the gestural line I am looking for onto the X, Y and Z axis of the object in order to maintain flow and control of the entire 3 dimensional space it occupies. I am working with a modular mold system, which allows me to create an inventory of parts to pick and choose from freely. This system allows me to maintain being in a “state of art” while exploring new forms. The sculptures are hollow and all have an inherent strength as I complete lines whether circular or elliptical, symmetrical or asymmetrical. Then I construct a lip on the vessels using armature, just like ribs in an airplane wing or in a boat hull. The ribs create a template to be covered with slabs, which accentuates the forms I have already created. The tensile strength of this element keeps the hollow forms from warping or moving during the firing process.
Architectonics – Hull Improv, side view, 2011. White stoneware, slab built, 38”L x 18”W x 17”H, Cone 04 Oxidation - View his works
Tell us more about large scale fabrication. Taking the size into consideration, have you confronted with some particular technological problems?
I found through many accidents, the importance of the foundation you build on. There were many cracking issues early on in the high arches of the sculptures. I thought it was uneven displacement of weight that could be resolved by building additional supports that were fired with the works. But with continual cracking at the point of the supports I began reviewing the overall movement of the pieces throughout the shrinkage stages, from cone 04 to cone 10 the problems were the same.
“My work is a contemplation on material, process, and object metaphors that juxtaposes the medium of clay with industrial materials to create installations that speak of landscapes lost. Inspired by the landscape of my agrarian childhood home now covered by suburban sprawl, I strive for these works to be spaces and scenarios the viewer can physically or psychologically enter and inhabit, that calls one to pause and witness the result of my consideration of the changing landscapes that surround us.
The resulting works are entities that are symbiotic yet impossible, balancing what can be seen now, and was seen before. These works speak of the human idea and need of home, and the necessary yet chaotic change that rural and suburban landscapes constantly undergo. They are meant to leave viewers questioning, perhaps considering the role they play in the landscapes that surround them.” Marianne McGrath
Marianne McGrath: “Maybe we can grow something on top of it all…”, 2010, unfired earthenware, plywood, string, wax, 5’ x 5’ x 5’
Marianne McGrath: Thoughts on Long Drives (gallery shot), 2009, porcelain, earthenware, plywood, steel rod, plaster, dimensions variable
Marianne McGrath: Fenced, 2011, porcelain, wire, reclaimed wood, 7’h x 3’1 x3’d
Marianne McGrath: Overgrowth, 2011, porcelain, wire, reclaimed telephone pole, 6’h x 16’l x 6’w
“One of my interests is in making multi-component, interactive sculptures. Most of these works have innumerable permutations for viewing. Perhaps partially influenced from my background as a professional musician, these flexible sculptures allow for creating variations in the artwork such as might be experienced in the live performance of a musical composition from concert to concert. Some of the works may appear to be “games,” but generally there are no rules for arranging the components.
I work primarily in porcelain because this claybody receives and juxtaposes textures so articulately. Glazes are employed minimally; some works make use only of slips, underglazes, and oxide washes. My building combines altered wheelthrown as well pure handbuilding techniques.” Suzanne Stumpf
Suzanne Stumpf: Nest with Eggs V, 2011, 9”w x 2”h, wheelthrown with handbuilt components; porcelain; oxidation fired to cone 10
Suzanne Stumpf: Interactive Sculpture No. 9, detail
Suzanne Stumpf: Interactive Sculpture No. 9, 2008, 16”h x 8”w x 8”d, wheelthrown porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10
Although Interactive Sculpture No. 9 appears at first glance to be some sort of game, there are no rules here. It is intended for the playful pleasure of the viewer to arrange the sticks with their different colored tips entirely to their own whim. (When all the sticks are removed the work is a trompe l’oeil with the raised black dots hiding its holes.)