My earliest works reflect a strong traditional classical artistic influence.
It was expressed through my conceptual content and my choices of raw materials.
I believe that in order to develop artistically, one must have a traditional figurative, realistic art education as a foundation from which he/she can emerge and pursue more abstract directions. Over the years I became focused on mastering a special ceramic sculpture and design technique which combines figurative imagery with abstract gestures, shapes and forms.
My recent work deals with an ongoing interest in the combining 'Controlled' formalistic elements of the sculptural object with coloristic and textural gestures and images that are superimposed on the external surface of the object.These colors, shapes and textures are a byproduct of the 'Lack ofcontrol', resulting from the application of different firing methods.
The firing technique involves two methods, one being the 'Post Raku'. This process begins with an initial firing of the object that is followed by coating its outer surface with a special glaze. The object is then fired again inside a barrel or a 'Raku' kiln that contains a natural rampant flame similar to that of a bonfire. After the second firing process, a layer from the transformed object chips off and one remains with
a different texture and monochromatic palette. The result is an abstract painting
on a three-dimensional sculptural surface.
The other technique involves 'Freestyle' firing in a bonfire. Here too, the process begins with designing the shape of the object. It undergoes the 'Bisque' firing process (in a kiln) and is then fired again in a barrel that containins a bonfire, a kind of primitive oven, that yields an 'Uncontrolled' palette and surface, 'Surprises' for me, the artist. This interplay between the ability to control the form and the inability to control its external surface creates an interesting tension and a variety of unique objects.