Adam Gruetzmacher
University of Wisconsin-Stout
Instructors: Kate Maury, Geoffrey Wheeler
CM: How did you come to your decisions about what textures and glazes to use, and the placement of each?
The way in which I address surface in my work is largely influenced by the form and proportion of each object. I place a lot of importance on structure and the activation of space that can be achieved through a straight line or a curve. I am interested in the idea of texture and its ability to communicate through touch. As a result, I chose to treat the surfaces of my pots in ways that accentuate line and proportion, emphasizing the disposition of the object. Using a thin slip allows me to maintain a surface quality consistent with that of raw clay, while allowing the marks created during the making process to remain at the surface.
My glaze palette and surface patterns were developed as a means of achieving an atmospheric level of surface variation in a non-atmospheric firing environment, producing a level of randomness within predetermined pattern. I use scratched surfaces juxtaposed with smooth, patterned surfaces in order to highlight the proportions as the object is both looked at and held. In the case of an open vessel or bowl, the division of texture serves to create a sort of horizon, emphasizing the interior/exterior dialog.
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Adam Gruetzmacher University of Wisconsin-Stout Instructors: Kate Maury, Geoffrey Wheeler
CM: How did you come to your decisions about what textures and glazes to use, and the placement of each?
The way in which I address surface in my work is largely influenced by the form and proportion of each object. I place a lot of importance on structure and the activation of space that can be achieved through a straight line or a curve. I am interested in the idea of texture and its ability to communicate through touch. As a result, I chose to treat the surfaces of my pots in ways that accentuate line and proportion, emphasizing the disposition of the object. Using a thin slip allows me to maintain a surface quality consistent with that of raw clay, while allowing the marks created during the making process to remain at the surface. My glaze palette and surface patterns were developed as a means of achieving an atmospheric level of surface variation in a non-atmospheric firing environment, producing a level of randomness within predetermined pattern. I use scratched surfaces juxtaposed with smooth, patterned surfaces in order to highlight the proportions as the object is both looked at and held. In the case of an open vessel or bowl, the division of texture serves to create a sort of horizon, emphasizing the interior/exterior dialog.
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