Eric Gorder I IOWA
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As my work has evolved over the past two years, I have concentrated on large hand-built jars. Removing myself form the wheel has developed a freedom within the forming process that has generated new ideas and developed direction within my work. The utilitarian value of an object is not my primary goal, although this direction is still evident. What I am trying to create is volume, and expandable life captured within clay. As I work on small thrown bottles or large jars, this thought of volume, and the skin in which it is contained, is an ever-consuming thought.
Looking though the annals of ceramics, I can picture certain French saltwear jugs, tightly thrown and fully expanded, as if ready to explode. Full of air and life, these jugs contrast with the solft loose surface of Bizen and Shigaraki jar forms. These large hand-built forms have a surface quality which brings out life and volume; the silhouette comes alive. My attention lies somewhere in between these two categories, in the desire of a controlled form with the softness of line.
Throughout my graduate studies I have concentrated on using wood as a fuel and firing atmosphere. Not only is the process of wood firing enjoyable, it created the surface qualities which I find most appealing. The interaction of flame has a direct impact on the surface and form of individual pieces. This interaction has challenged my working methods and surface treatments. Through experimentation with different clay body formulas and my manipulation of the clay, I am slowly understanding the subtleties that can be attained through hand-built forms in the wood-fired atmosphere.