POPJCTs are my most recent body of work and investigate materiality in objects and identity. From disparate materials, contrary textures, and incompatible forms, POPJCTs are intended to manifest harmonious but revealing interactions. These interactions are of the individual with culture, and evoke the ephemerality, disposability, function, utility, value, and experiential worth found and lost in individuality, by the individual. POPJCTsare created utilizing a systematic material-process framework that includes the ceramic process, the application of resin, and the incorporation of other found materials that strengthen conceptual connections.
In a number of ways, POPJCTs reflect my development as an artist. They epitomize a journey of exploration which began with abstract sculpture, transitioned to utilitarian forms, and has arrived at body of work which invokes the everyday – the functional, the found, the ordinary – only to subvert it through individualization, through queering. From that early practice in utilitarian ceramics, I came to recognize that everyday objects are intimate catalysts for thought and conversation; they are vessels of experience and reference, and their tangible usability enables them to be shared through time. I wondered, however, how might an object’s latent capacity to evoke and challenge and endear be activated, such that it could be shared through memory, not only time? How could the experience of the everyday be remembered, and last across interactions? Indeed, it is memory which differentiates an object from an heirloom, and this recognition led me to a critical element of POPJCTs and my practice as an artist: to enter memory, to gain meaning, objects must occupy the intersection of contrary forces, and further, they must facilitate the interaction of the contradictory. POPJCTs tested this recognition: what is born from in the interaction of the tactile and the fragile, of the useful and the absurd?
In developing this body of work, I found that I could create objects that solicit tactile interaction and satisfy physical touch, and at the same time elicit questioning and engender uncertainty. These experiences are contingent upon interaction between the object and the individual: they reject norms of instantaneous consumption and immediate disposability, and expect contemplation and connectivity. They make use of the everyday – shapes that are familiar and register as practical – while undermining that comfort with inflected forms, unexpected surfaces, and insecure grasps. Where a maker’s mark had always been, a sheen of glitter now flows. As the presence of these revealing interactions has become more evident to me, I am becoming more attuned to the role of space in the interactions POPJCTs embody – the environment in which one’s life and moment intersect with an object in large part determines the potency of the interaction, and expressivity of the object. The next stage of my work is to develop spaces that project POPJCTs into sculpted, occupiable zones which permit encompassing intersection and interaction.