WFC An International Collection of Wood-fired and Sculptural Ceramics 薪窯陶芸と彫刻陶芸 インターナショナル・コレクション Een Internationale Collectie van Houtgestookte en Beeldhouwtechnieken Keramiek Une Collection Internationale du Feu de Bois et Céramique Sculptural ????????????
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Andy Ruble
Los Altos, California United States
Professor Foothill College
Professor Foothill College
I create sculpture that explores the hybridization of organic and architectural structure. By observing and referencing details of our universe which range from the microscopic (dividing cells, mushroom spores, pollen, and bone structure) to the mammoth (large-scale bridges, refineries, and ships), I gather ideas for surface and form.
The minutiae that inform my work are influenced by such disparate experiences as walks in the Redwood forests of the Santa Cruz Mountains and working in the Silicon Valley as a sales engineer for an industrial ceramics corporation. I have always been interested in how objects in nature form and how manmade objects reflect these same intractable laws. Quite simply, the hybridization of structural references has expanded the possibilities for nature’s pure and perfect geometries.
By reducing the sculpture to its pure essence of structure, the work simultaneously conveys the grace of natural arches and cathedral naves. Every structural link becomes an integral part of the piece's survival as a whole. Much like Buckminster Fuller's idea of tensegrity, the minimal amount of material for maximum strength drives me to push the ceramic material to the threshold of its tensile strength. I become overwhelmed when standing at the base of a suspension bridge, and marvel at the hollowed-out remains of a Cholla cactus. How is a simple lattice pattern so strong? How is an eagle wing so rigid yet flexible? These are the questions that fuel my sculptural inspiration.
The minutiae that inform my work are influenced by such disparate experiences as walks in the Redwood forests of the Santa Cruz Mountains and working in the Silicon Valley as a sales engineer for an industrial ceramics corporation. I have always been interested in how objects in nature form and how manmade objects reflect these same intractable laws. Quite simply, the hybridization of structural references has expanded the possibilities for nature’s pure and perfect geometries.
By reducing the sculpture to its pure essence of structure, the work simultaneously conveys the grace of natural arches and cathedral naves. Every structural link becomes an integral part of the piece's survival as a whole. Much like Buckminster Fuller's idea of tensegrity, the minimal amount of material for maximum strength drives me to push the ceramic material to the threshold of its tensile strength. I become overwhelmed when standing at the base of a suspension bridge, and marvel at the hollowed-out remains of a Cholla cactus. How is a simple lattice pattern so strong? How is an eagle wing so rigid yet flexible? These are the questions that fuel my sculptural inspiration.
Andy Ruble
Los Altos, California United States
Professor Foothill College
Professor Foothill College
I create sculpture that explores the hybridization of organic and architectural structure. By observing and referencing details of our universe which range from the microscopic (dividing cells, mushroom spores, pollen, and bone structure) to the mammoth (large-scale bridges, refineries, and ships), I gather ideas for surface and form.
The minutiae that inform my work are influenced by such disparate experiences as walks in the Redwood forests of the Santa Cruz Mountains and working in the Silicon Valley as a sales engineer for an industrial ceramics corporation. I have always been interested in how objects in nature form and how manmade objects reflect these same intractable laws. Quite simply, the hybridization of structural references has expanded the possibilities for nature’s pure and perfect geometries.
By reducing the sculpture to its pure essence of structure, the work simultaneously conveys the grace of natural arches and cathedral naves. Every structural link becomes an integral part of the piece's survival as a whole. Much like Buckminster Fuller's idea of tensegrity, the minimal amount of material for maximum strength drives me to push the ceramic material to the threshold of its tensile strength. I become overwhelmed when standing at the base of a suspension bridge, and marvel at the hollowed-out remains of a Cholla cactus. How is a simple lattice pattern so strong? How is an eagle wing so rigid yet flexible? These are the questions that fuel my sculptural inspiration.
The minutiae that inform my work are influenced by such disparate experiences as walks in the Redwood forests of the Santa Cruz Mountains and working in the Silicon Valley as a sales engineer for an industrial ceramics corporation. I have always been interested in how objects in nature form and how manmade objects reflect these same intractable laws. Quite simply, the hybridization of structural references has expanded the possibilities for nature’s pure and perfect geometries.
By reducing the sculpture to its pure essence of structure, the work simultaneously conveys the grace of natural arches and cathedral naves. Every structural link becomes an integral part of the piece's survival as a whole. Much like Buckminster Fuller's idea of tensegrity, the minimal amount of material for maximum strength drives me to push the ceramic material to the threshold of its tensile strength. I become overwhelmed when standing at the base of a suspension bridge, and marvel at the hollowed-out remains of a Cholla cactus. How is a simple lattice pattern so strong? How is an eagle wing so rigid yet flexible? These are the questions that fuel my sculptural inspiration.
Keywords: andy ruble
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