Friday, January 22, 2010

Pottery #13 - Collector Priviledges, Peter Masters


There's one about thing being a collector, as opposed to an artist/craftsperson: you can be subjective about the works you've got in your collection. You can display them as you like, you can praise them, you can juxtapose them in your own environment as you wish.

The photo above is an 'expressive' view of my Peter Masters ceramic/slumped glass work, with more to follow below:

"Living and working in Houston, Peter Masters was a 2009-2010 Artist-in-Residence at the Houston Center for Contemporary Craft. Originally from Canada, he received his BA from the University of Alberta and his MFA in ceramics from the University of Puget Sound, Tacoma, Washington. Masters has taught ceramics and lectured all over the world, including such countries as Australia, New Zealand, Hungary, England, and Denmark. His work has been exhibited internationally since 1980 and is included in private and public international collections."

On the development of the forms...
"The forms have continually developed away from possible literal references or connotations to the more abstract.  Early works, despite their less precise patterns, were always closed - quite secretive.  Successively, the patterns became more precise, intricate, with protrusions more extreme: thrusting, twisting, searching, and then falling onto - and thus interrupting the visual continuity of - the pattern.  The protrusions became intrusions - into the ovoid, which in turn became more open, often distorted with 'soft' intrusions, revealing glimpses of the dark interior.  So that, now, this inner space is finally viewed - but through glass, acting as a metaphor: a window which separates the viewer both physically from the inner world of the ovoids and psychologically from our inner world(s)."
- Peter Masters, 2005

And here's the 'non-subjective' image of it:


Taika Kinoshita, Get-Back-1-Y (Tulip), c. 1990
Woodblock print, 50 x 70 cm, edition AP, Esa Jaske Collection


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