Note: imported from RIT’s Digital Media Library running on DSpace to RIT Scholar Works in December 2013.
This thesis report describes the driving force behind my ceramic sculpture, a pursuit of form reflecting conscious and instinctive concepts in art. Each piece, a created situation removed somewhat from the context of the visual and expected, calls attention to the processes by which the human species functions. The environments created program a controlled ituation that evokes viewer response as they add to and heighten the illusions of real situations. The drama of these sculptural realities is further intensified by being life-sized. An intention of the work is not to function as the object it visually represents, but to explore an overall concept of function vs nonfunction. The relation to everyday objects establishes a visual connection that leaves the viewer questioning the aspects of function. The pitcher with a rounded bottom only stands when placed on a grid table which holds it in place, (photo 1, pg. 2) But is it functional? The lack of glaze inside precludes traditional use but suggests an idea of a pitcher. The drama lies in viewing the work and reviewing the ideas suggested about the functionality of everyday objects. With this in mind a connection surfaces between objects and the environments for which they were created. The images and assemblages created make restatements of traditional functional forms. These forms become statements of tables about tables, pitchers about pitchers, cups about cups, and containers about containers. Within these are secondary statements about each piece such as the spout, handle, bottom, top, exterior, and interior of a pitcher. Alone each item has individual meaning and when placed together relate to the overall environment.