Wednesday, May 18, 2011
My work explores atmospheric firing, especially, our attempt to control the firing given the seemingly unpredictable nature of the process. My intention is to understand, learn and control these processes as best to my abilities to express the qualities of atmospheric firing to impart individual surfaces on the work.
I am firing work that has been placed in cut saggars or tumble stacking the work. By placing work in cut saggars or tumble stacking, I am attempting to control how the atmosphere will affect the surfaces. By doing this, each pot becomes intrinsically connected with the others while remaining individual. Paradoxically the individual is then dependent upon the group. Each pot is then uniquely linked to the choices made in stacking the kiln, cutting the saggars, length of firing, fuel and atmosphere. As a group they form a narrative of how the fire travels through the kiln, while individually they show one specific point and time. Despite the fact that all the variables can be repeated exactly the same they will not yield the same exact results.
Sunday, May 15, 2011
Monday, May 9, 2011
Bryce Brisco: Pottery
a Master of Fine Arts Thesis Exhibition
Trisolini Gallery in Baker Center
May 23rd-June 4th
Reception May 27th, 6-8 p.m
I am deeply interested in Southern American folk wares and the three main cultural influences that this tradition was derived from: German salt glaze, English slipware, and Chinese ash glaze. These formal choices paired with a rigorous studio practice of critical dialogue and conceptual inquiry fuel my attempt to better access and articulate the content of functional pottery. This includes examining pottery from not only a functional standpoint, but the roles it plays historically, culturally, and symbolically. Handmade pottery, especially that from deeply rooted traditions, has survived our culture’s technological advancements, based on its ability to provide a meaningful aesthetic experience in concert with its delivery or containment of food and beverage. Towards this end I employ locally sourced clays and ash, as well as cullet, to situate the pots more specifically to their site of origin. I believe that a close working relationship with a few idiosyncratic materials yields qualities unattainable by those commercially available. The process of minimally refining clay, ash, and recycled glass coupled with wood firing in a salt atmosphere imbues the pots with a sense of liveliness and beauty. I appreciate the unknown factors and surprises implicit in these processes.
+For more information concerning the exhibition, available work, mailings, or a catalog of the show, please contact: