Brooks Oliver
Artist Statement
While ceramics are typically considered to be utilitarian, my current work demands a more sculptural interpretation, while maintaining elements of functionality. Many of my vessels can be used functionally or maintain elegance as sculptural works viewed alone. Partially influenced by my two years of undergraduate training in engineering, my work tends to incorporate elements of engineering and math through tight, uncluttered forms and patterned surfaces.
Through the use of geometric form and repetition, my vessels lend themselves to heightened sculptural interpretation involving elements of space and spacing, both within, outside, and between the piece(s). I find that when this line between utility and sculpture is challenged, the viewer has to investigate the piece and search for its best function and use. This idea is further challenged by my use of more traditionally functional glazes such as celadons on more sculptural works and my usage of less inviting glazes on more utilitarian works. At the same time, this tightness in linear form frequently provides my work with a "machine made" quality that speaks to my fascination with the art/industry history of ceramics. Although I am comfortable using CAD programs to facilitate my designs, I am diligent in creating my forms by hand, paying great attention to detail in objects that explore precision, delicacy, poise, refinement, symmetry, and the purity of porcelain. I frequently endeavor to find a harmoniously balance in my work between sharp lines and structure (that usually deter touch) with smooth curves (that invite touch). I often particularly pay great attention to the foot or base of a form as this feature frequently plays a large role in how a viewer approaches the form. I will often give more sculptural forms wider bases for stability to attract usage, in contrast however, I will give more bowl like forms extremely small feet to convey a sort of balancing tension to the form to challenge usage. My objective is to draw attention to the relationships between forms, as well as the viewer's attitude, approach, and relationship to the object.
-- Brooks Oliver, 2012