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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Trent Burkett
Stockton, California United States
Professor University Of The Pacific
Professor University Of The Pacific
My work is influenced by a convergence of childhood experience traveling in the Sierra Nevada Landscape and an understanding of Eastern aesthetics. Exposure to these two influences were given from my father who spent much of his early life in Taiwan. His appreciation for Asian culture through food, films, and spirituality was a theme for much of our activities. One of our longstanding traditions was an annual back-packing trip into the Sierra. This world of granite, water, and flora formed the structure of my values and beliefs. My subsequent education in the Arts provided a deeper understanding of Eastern philosophies, particularly in the Ceramic Arts. This defines my appreciation for Ceramics, particularly Japanese, Korean, and Persian wares, where evidence of rugged essentialism and the acceptance of the unexpected are expressed in utilitarian objects. My involvement with Ceramics at this level has created an expanded scope to my research. Geology, Botany, and the history of Gardens are integral components of making and exhibiting.
All of these influences revolve around a central idea of self-awareness and creation. Many of the introspective kinds of experience gained from trials in back country navigation are similar to the challenges in the creative process. This process emphasizes sensitivity to the moment. The more contrived the act, the more likely one is to experience disappointment in the outcome. The processes involved in working with clay rely on this level of attention. This path of least resistance is the most important part of the final outcome.
My appreciation for functional objects ranges from the strictly everyday use of objects to the more eccentric and possibly sculptural aspects of experiencing objects. Their use can become obscured and inter-changed. My Aesthetic incorporates the use of forms and surface which employ organic / gestural qualities as well as architectural / human invented forms. In this regard, I attempt to create a dynamic equilibrium between the sculptural aspects and the conventions of functionality. My experience with wood and salt-fired ceramics is important to my aesthetic goals. This process of firing with wood has solidified my understanding of the relationship between form, material, surface, and the traditions of fire. Currently, I dig and process most of my clay in the foothills of the Sierra Nevada. Working with more stubborn clays has challenged my working methods. The struggle to figure out a particular material and how it works is what holds my attention. Regularity in process and results rapidly creates boredom. Wood- firing is perfect for this very reason; it is for the most part unpredictable. However, with keen observation, one can build a palette out of the irregular and in a sense casually mingle with it to achieve desirable results. I also work with mixed-media to create singular objects as well as installations. The use of space as an element in experiencing visual information is also a key element in my work.
All of these influences revolve around a central idea of self-awareness and creation. Many of the introspective kinds of experience gained from trials in back country navigation are similar to the challenges in the creative process. This process emphasizes sensitivity to the moment. The more contrived the act, the more likely one is to experience disappointment in the outcome. The processes involved in working with clay rely on this level of attention. This path of least resistance is the most important part of the final outcome.
My appreciation for functional objects ranges from the strictly everyday use of objects to the more eccentric and possibly sculptural aspects of experiencing objects. Their use can become obscured and inter-changed. My Aesthetic incorporates the use of forms and surface which employ organic / gestural qualities as well as architectural / human invented forms. In this regard, I attempt to create a dynamic equilibrium between the sculptural aspects and the conventions of functionality. My experience with wood and salt-fired ceramics is important to my aesthetic goals. This process of firing with wood has solidified my understanding of the relationship between form, material, surface, and the traditions of fire. Currently, I dig and process most of my clay in the foothills of the Sierra Nevada. Working with more stubborn clays has challenged my working methods. The struggle to figure out a particular material and how it works is what holds my attention. Regularity in process and results rapidly creates boredom. Wood- firing is perfect for this very reason; it is for the most part unpredictable. However, with keen observation, one can build a palette out of the irregular and in a sense casually mingle with it to achieve desirable results. I also work with mixed-media to create singular objects as well as installations. The use of space as an element in experiencing visual information is also a key element in my work.
Trent Burkett
Stockton, California United States
Professor University Of The Pacific
Professor University Of The Pacific
My work is influenced by a convergence of childhood experience traveling in the Sierra Nevada Landscape and an understanding of Eastern aesthetics. Exposure to these two influences were given from my father who spent much of his early life in Taiwan. His appreciation for Asian culture through food, films, and spirituality was a theme for much of our activities. One of our longstanding traditions was an annual back-packing trip into the Sierra. This world of granite, water, and flora formed the structure of my values and beliefs. My subsequent education in the Arts provided a deeper understanding of Eastern philosophies, particularly in the Ceramic Arts. This defines my appreciation for Ceramics, particularly Japanese, Korean, and Persian wares, where evidence of rugged essentialism and the acceptance of the unexpected are expressed in utilitarian objects. My involvement with Ceramics at this level has created an expanded scope to my research. Geology, Botany, and the history of Gardens are integral components of making and exhibiting.
All of these influences revolve around a central idea of self-awareness and creation. Many of the introspective kinds of experience gained from trials in back country navigation are similar to the challenges in the creative process. This process emphasizes sensitivity to the moment. The more contrived the act, the more likely one is to experience disappointment in the outcome. The processes involved in working with clay rely on this level of attention. This path of least resistance is the most important part of the final outcome.
My appreciation for functional objects ranges from the strictly everyday use of objects to the more eccentric and possibly sculptural aspects of experiencing objects. Their use can become obscured and inter-changed. My Aesthetic incorporates the use of forms and surface which employ organic / gestural qualities as well as architectural / human invented forms. In this regard, I attempt to create a dynamic equilibrium between the sculptural aspects and the conventions of functionality. My experience with wood and salt-fired ceramics is important to my aesthetic goals. This process of firing with wood has solidified my understanding of the relationship between form, material, surface, and the traditions of fire. Currently, I dig and process most of my clay in the foothills of the Sierra Nevada. Working with more stubborn clays has challenged my working methods. The struggle to figure out a particular material and how it works is what holds my attention. Regularity in process and results rapidly creates boredom. Wood- firing is perfect for this very reason; it is for the most part unpredictable. However, with keen observation, one can build a palette out of the irregular and in a sense casually mingle with it to achieve desirable results. I also work with mixed-media to create singular objects as well as installations. The use of space as an element in experiencing visual information is also a key element in my work.
All of these influences revolve around a central idea of self-awareness and creation. Many of the introspective kinds of experience gained from trials in back country navigation are similar to the challenges in the creative process. This process emphasizes sensitivity to the moment. The more contrived the act, the more likely one is to experience disappointment in the outcome. The processes involved in working with clay rely on this level of attention. This path of least resistance is the most important part of the final outcome.
My appreciation for functional objects ranges from the strictly everyday use of objects to the more eccentric and possibly sculptural aspects of experiencing objects. Their use can become obscured and inter-changed. My Aesthetic incorporates the use of forms and surface which employ organic / gestural qualities as well as architectural / human invented forms. In this regard, I attempt to create a dynamic equilibrium between the sculptural aspects and the conventions of functionality. My experience with wood and salt-fired ceramics is important to my aesthetic goals. This process of firing with wood has solidified my understanding of the relationship between form, material, surface, and the traditions of fire. Currently, I dig and process most of my clay in the foothills of the Sierra Nevada. Working with more stubborn clays has challenged my working methods. The struggle to figure out a particular material and how it works is what holds my attention. Regularity in process and results rapidly creates boredom. Wood- firing is perfect for this very reason; it is for the most part unpredictable. However, with keen observation, one can build a palette out of the irregular and in a sense casually mingle with it to achieve desirable results. I also work with mixed-media to create singular objects as well as installations. The use of space as an element in experiencing visual information is also a key element in my work.
Keywords: trent burkett
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