"My current work lies in my interest in the investigation of the transformative character of memories. In particular, I am thinking of pots that belonged to my grandmother. A remembrance of a jar, cup, and plate serves as the point of departure for contemplation of form, color, and tone. The nature of how a pot reveals itself over time to an audience is the long echo of that initial reverie. The pot is both a reservoir and an initiator of memories.
The convention that a pot is "complete" after it has been fired is something that I am working to subvert by the addition of other materials following the glaze firing. Ways of questioning a pot's function, both as an object and a narrative element, naturally arise as different materials are composed to create new layers. This juxtaposition complicates the reading of the work, slowing the comprehension and experience of what may appear to be a simple object. The pot's domestic surroundings, the casual way in which it is constructed, and its surface against that of another material give the work a constructed and contemplative significance that will divulge its identity over time."
In Brian Jones' artist statement, he is very direct and too the point when he explains the motives of his work. He sets the stage for where his interest in functional ceramics comes from, the ideas behind his pots, and the importance he thinks pots have in the world. He doesn't leave much room for you to question what kind of functional work he makes and for what reasons.
I think he could go into more detail about the other materials he uses and to what function they have with his pots. Without seeing his work, I don't think you would know what he is discussing when he talks about the "juxtaposition of the new layers" in his work. It is unclear how his concepts are translated to this other form without seeing his work.
Knowing his work though, you can understand and more clearly see the function of his wall pieces. You can tell why he seems to be so abstract and simplified with his shapes and colors.
In any case, even though his ideas are not too involved, he explains the reasons for the concepts and the way his work supports them.
" 'Rizzo's paintings are equal part fact and fiction. Using her direct experience with a place, event or object as a catalyst, she abstracts, invents and explores new realities in painted space and form. Rizzo imagines places unseen or hybrid spaces, creating a world that is full of wonder and possibility. Her use of exaggerated color, fluid brush strokes, and spatial ambiguities reveal sensual environments where interiors and exteriors collide and our notion of reality is questioned.' -Stephanie McMahon"
The description of Rizzo's paintings is very accurate and demonstrates the effect she desires from her paintings. The wording is ideal when matched with her work as well. The statement starts to create a visual of her pieces and where she is getting her inspiration.
As well as her work is described, I think it would work better if it was from her perspective and give a clue into her own thoughts and inspirations. I think personal artist statements are more successful. You get a clue into the thoughts of the artist and it is where you see their excitement about their medium and their art. I appreciate her work and how it has changed and evolved over time, but her statement would be much more successful if she explained her ideas and interests in her own words,.
(I apologize about the centering of the image. I tried every position choice and it still wouldn't come up centered! -Erin)
Elements of touch, intimacy and mark making are extremely important to the work that I make. I create subtle forms on which I draw imagery that is sensitive to how each pot was touched and formed. An aspect unique to my work is that every movement and gesture is marked and recorded on the surface of my pots. I have chosen this rather slow and tedious process of pinching because I believe that pinching pots instead of throwing them on a wheel or building them with slabs creates a different type of intimacy. I see my fingerprints as a sort of brush stroke. In the way that a painter paints a canvas and creates a certain sensibility in the image, I create an intimacy in my work by the way that my fingers touch the clay. Human presence and the mark of the hand are important to my work, which steps back to a time where work isn't about production, but the touch of a fingertip.
Emily Schroeder's artist statement is clear and to the point. She explains the reasons she makes her pots the way she does, why she is intrigued by that way of working, and the importance these ideas hold in her eyes. She sets the tone for what the work looks like and must feel like. I appreciate her ability to talk about why her work stands out and is special. The way she presents it isn't presumptuous or boastful. If there's a way an artist can talk about their art and explain why it is important to the world in a humble way, I think it is important to present this in an artist statement.
I think out of all three artists I chose, she clearly states every aspect of her process and her ideas clearly and concisely. There is no room for wonder or misunderstanding in her statement.