Simon Reece
Artist Statement September, 2006
I have been making pots for over 20 years. Working in my home-based studio in Blackheath, I produce short runs of ceramic objects that ask the viewer to consider the relationship between utilitarianism and aesthetics.
Beauty and usefulness are the forces that motivate my work. Through the clay medium I endeavour to find a language to create work that approaches a universal aesthetic; making objects that people never tire of.
While primarily a vessel maker of utilitarian ceramics, I always seem to be looking for a way to contextualise an idea of form or texture and to transform it into a vessel of some description.
Having chosen clay as my means of expression I am increasingly finding the medium is directing my work process. Understanding and utilising the particular clay’s properties and exploring its limitations increasingly defines my work.
Through all of my work I am striving for a subjective response in the viewer and this is linked to the notion of creating a dialogue between our emotions and our intellect.
The serendipitous occurrence that is potting continues to intrigue me, and the creative urge and process is ongoing. Woodfired work continues to drive a lot of my aesthetic emphasis and the small feldspar glazed bottle with iron decoration is an example of a piece that keeps the passion for making ceramic objects on track.
Icon Jagging
Although my current work is not supposed to be representational as such, I find myself drawn and inspired by iconic images that are around in my local environment and in the nearby urban landscape that I visit. Appropriating or jagging iconic images seems necessary for me in relating to my environment – I utilise the forms or images, making them my own and having a closer relationship with my world. In creating work for this exhibition, I have blatantly appropriated images that are icons in my environment.
Icons are remembered as representative of some part of ourselves and our experience. Daydreaming about them is frequently meditative and soothing. In these ways icons can become reference points in our life.
Thus icons of the natural and built landscape and of our fauna and flora continue to drive my image pilfering.
Sydney Opera House
There aren’t many ceramic icons that come to mind in our culture, but the Sydney Opera House happens to be covered with ceramic tiles, so I guess it would be the closest. Its sails are one of the inspirations informing the house series: aumbrys, jibs, house platters, bowls and plates.
  
The Blue Mountains
 I am inspired by rock formations near where I live in the Blue Mountains. I have rough ideas of form which are morphed by the manner in which the clay responds to my working it. Textures seem to be inherent in the clay and need to be coaxed out – by compressing, tearing, twisting and what other gesticulations come to mind. The coaxing has resulted in my continental platters, mesa platters and, more recently, my Gondwanaland platter.
Gondwanaland Platter 2006
Tea Bowls and Cups
With my tea bowls and tea cups I continue to enjoy playing with the traditional forms, and juxtaposing a few different glazes in combination with local plants like the Dendrobium Teretifolium, and the iconic redback spider.
I hope they can be enjoyed for use and also for contemplation.
 
The Rock Ark is another good example of icon jagging, as it is a direct jagging from a trip last year to Japan. The Sanyo Ark is seen when travelling on the Bullet Train close to Nagoya. Covered with solar panels, it is a striking landmark.
 Rock Ark
 Tri-colour Bowl
 Double Gourd Shino Vase
| |
