“In our time the amount of change in environment to which an individual has to keep on readjusting himself psychologically is so great, and the pace of this change so rapid that the demand is straining the human’s capacity to adapt.” -Arnold Toynbee

Appropriate means of creatively adapting to continual change have been expressed though practices of art, architecture, science and technology. In this body of ceramic works, entitled “Tectonic Perceptions”, my intentions are to incorporate methodologies from the above mentioned practices to create a “new nature” in the structural design of ceramic objects.

These forms are derived from hybridizations of 20^th century structural design aesthetics in architecture, and mathematical theories exploring systems of growth, patterns, and dimensions. These theories include: Cartesian Geometry, Mandelbrot Fractals, Golden Ratio, Fibonacci Sequences, and Gnomic Spirals, and are applied to the ratios and dimensions of segments within the modular mold fabrication system.

The works are intended to incorporate mathematical theories which influence, but do not establish finite parameters. Numerical components of the theories remain irrational; concepts of the ratios are focused upon allowing the creation of intuitive sculptures.

Travels throughout Asia and an array of rich cultural experiences in China brought me new perceptions of cultural identity, history, and space. These encouraged me to explore relationships between the strong elements of tradition and the modern identities rapidly evolving around the world. Exploration of these interrelationships led to the new ceramic designs.

It is my intent to find a natural form by staying true to the chosen material and its inherent properties. I seek a formal vocabulary that allows sculptural vessels to exhibit the qualities of unique handcrafted objects of traditional cultures, along with those of contemporary mass-produced objects. Synergism, and patterns and structures–of animals, plants and insects– have strong influence over the forms created.

I am intrigued by questions that arise from the final objects, and search for ways to assess results:

*What forms may allow for more or less successful interpretations? (e.g. masculine vs. feminine; organic vs. geometric)

* Is there a lowest common denominator to which all can relate?

* Can these relations foster new ideas and questions beyond that of the three dimensional realizations?

I hope to make a contribution to contemporary ceramic arts by expanding the historic formal vocabulary through an innovative construction process. My goal is to engage viewers while creating conversations which include a multitude of disciplines, in an effort to seek out new questions and answers relating to contemporary time and space.