TIME– FRAGMENT 4 – NY USA – 2017
EXHIBITION AT – NEW YORK STATE COLLEGE OF CERAMIC ARTS
TIMELESS DANCE OF CLAY
In the heart of the New York State College of Ceramic Arts, I was invited into
the timeless dance of clay. Within this moment, I conversed with the earth in
its rawest form—molding lines, patterns, and structures that are not only
rooted in history but also in the technical possibilities the school offered.
I reimagined the past, to weave its essence into the future, creating clay artifacts
that spoke to both local history and the transformative potential of time itself.
The fragments I formed were arranged in combinations that echo the inverted
excavation—pieces that, in their own quiet way, may also tell their story of what
has been unearthed and what is yet to be discovered.
LOUIS KHAN AND THE BRICK
As I reflect, I think of the dialogue between the famed architect Louis Kahn and
a brick. His words resonate with a quiet wisdom:
“You say to a brick,
‘What do you want, brick?’
And brick says to you,
‘I like an arch.’
And you say to brick,
‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’
And then you say: ‘What do you think of that, brick?’
Brick says: ‘I like an arch.’”
But here, clay and I are not bound to bricks, arches, or lintels. I am not concerned with
structures that merely stand in place. Instead, I am lost in the reimagining of time itself,
weaving a dialogue between the past and the future, marking moments in a language
older than stone.
MEMORY OF POSSIBILITIES
And so, I created not only forms of clay but of memory, of possibility, of the future we
are still to meet. This brings us to the threshold of the final fragment, where time
becomes not just a measurement, but a living presence, and creators and collaborators
with earth—continue to set their marks.
JR-Tile Clay
Unglazed, fired to cone 04, glazed to cone 04.
Installation: 354 x 270 inches.
Organic object, coiled clay.
Vase-object: press molded (3D laser-printed plastic positive form, transformed into a
negative plaster mold for press-molding). Extrusions: large ones made by 2D Autodesk
Drawing, CNC-laser-cutting of extruder heads. Small extrusions made by hand, hollowed
by touch. Large boxes: press molded (positive clay form coiled and transformed into
negative plaster mold for press-molding).
From installation 4 – time at New York State College of Ceramic Arts.
Installation 354 x 270 inches, Jr – tile clay, glazed abd non glazed. photographer Anja.
SUPPORTED BY NEW YORK STATE COLLEGE OF CERAMIC ARTS
INVITED INTERNATIONAL THEODORE RANDALL CHAIR
SEE BOOK AT CATALOG AND ARTICLES
PROCES IN STUDIO
Photos Anja from proces in studio for fragment 4.
LINES OF MEMORIES
RE-IMAGING TIME
ABSTRACT
In spring 2017 I was invited for a Theodore Randall international Chair at New York State College of Ceramic Art, School of Art and Design, Alfred University.
I here had to do Art research /an art project – as well teaching a Junior 2 System class, supervise and give critique of grad Students and attend meetings. This page is presenting my art project LINES OF MEMORIES – Re imaging time-Fragment 1 out of 5 fragments all together.
BACKGROUND
It was a project in its origin based on local history, topology, archaeology and architecture presented at the opening as a guided tour containing 5 fragments:.
Fragment 1; “Landscape a video presented at Alfred Ceramic Art Museum, NY, USA
Fragment 2; “Lines” Permanent outdoor concrete earth installation
Fragment 3; “Memory” wood-ceramic Installation at New York State College of Ceramic art, School of Art and Design, Alfred University
Fragment 4; “Time” ceramic Installation at New York State College of Ceramic art, School of Art and Design, Alfred University
Fragment 5; “The End” out-door earth-ceramic Installation.
A fragment is defined as;
a part broken off or detached from
A fragment; an isolated, unfinished, or incomplete part
A fragment; an odd piece, bit, or scrap.
In my work I reflect on the nature of time and the narrative telling of local history mixed with my own personal interpretation hereof.
I am curious about how memories, founding’s and fragments or artifacts can be parts of a constructed narration of a history, a nations history, a village history and my own personal history.
I am an artist my intention is not to be an historian nor an archaeologist.
The fragments were presented as 5 installations at Alfred ceramic Art Museum. NY, USA, New York State College of Ceramic Art, School of Art and Design, Alfred University and outside in public place in front of Alfred ceramic Art Museum.