I proposed to create a cohesive body of sculptural work that would evolve through the act of making and the trials of experimentation. I invited every opportunity for my work to transform and take on a new direction. I had complete devotion to the work and material of clay. I considered my drive for discovery to be a purpose which spawned emotion giving me a reason to continue my pursuit of art. I approached the making of my work with a chronic compulsion for production. I make art because I have to. The choice to be an artist was never a conscious decision. The creation of this work was a subconscious process acted out by my fingertips. Thoughts manifested and exploded into the material and a refined physicality was triggered through my movements. I reacted to the results with extreme highs and lows willing the sculpture into life. This emotionally draining and labor- intensive process that I worked through left the work and material raw and exposed. A hierarchy was devised and the outliers in the pack of multiples became fair game. I allowed myself to experiment without boundaries. Combating materials and interests played a strong role within this body of work. This allowed me insight into the cause and effect of the choices I was making. I denied any material the right to function as a historical marker. I deprived them of their nature and transformed their meaning. I maintained control over the chaos by organizing the fragile parts; making them a part of something much greater than the norm. I composed a frozen moment that was extracted from my mind and recreated it to exist in the real world.
Library of Congress Subject Headings
Ceramic sculpture--Themes, motives; Ceramic sculpture--Technique; Emotions in art
Department, Program, or Center
School for American Crafts (CIAS)
Kinard, Bri, "Feathers from a post extraction" (2012). Thesis. Rochester Institute of Technology. Accessed from
RIT – Main Campus