The Natural in organic material picques my passion; anthropomorphic vessels, but with industrial precision in craftsmanship particularly in myriad surfaces in utilizing the material expressive quality of clay.
A key definition for me is haptic art; "a form relying on touch as a primary means of communication...concerned with the physical and sensory engagement through touch and the manipulation of material." (P. 106, Creative Concepts)
I like the works of Kyra Cane's wild nature inspired drawings on surfaces - expressing the "fluidity of form".
I like the works of Sarah-Jane Selwood. She challenges the clay form in a vision to a high precised degree. She works with perfection - geometric complexity in design; sharp lines, sure surfaces so that the piece does not seem loose or runny like an organic clay body.
I like Robert Dawson's Wedgewood plate for its exacting pun replication.
In a similar way, I enjoy the Goldleaf collection of O'Neill because if its play with the shadows and translucency of porcelain, natural drawing of leaves bisecting inner and outer surfaces with interplay.
Particularly, Kristy Taylor's work with clay transparency, shapes and textures indicative of clay decoration and natural wet smooth flow excite me. My work best relates most likely to hers.
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