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Abby Richardson, Triangles 9738, Ceramic Sculpture, White Shino Glaze, 11"h x 11"w x 11"d
INSPIRATION
Folded planes of clay rise and open, exposing interiors shaped by pressure, gravity, my touch and flame. The wood fire leaves a record of vulnerability and endurance across the surface.
Within Revealing our Magnificence, the work understands magnificence as emergence. Strength made visible through transformation. What survives the heat stands, lifted and present.
ARTIST STATEMENT
My ceramic work continues many themes of my architectural practice but through a different scale and an intimate, tactile medium. It engages form, space, texture, color, and material at a scale that fits on a table.
My process is highly intuitive, serial, and obsessive. Each “triangle” is built by folding clay slabs – again and again – through a method I call “rapid model making,” where the brain quiets and the hands do the informing/talking. This compulsion to repeat, to fold and refine, becomes a kind of ritual. In this way, the pieces make themselves into existence. I return to the triangle obsessively – not only for its structural clarity, but for the infinite spatial variations it offers. The units are assembled into shifting compositions that subvert singular viewpoints, creating tensions between stability and motion, clarity and ambiguity.
Texture and color emerge from wood-firing processes that resist control. Some pieces are fired in kiln, others in pits or dumpsters, always in a communal setting. Here, obsession meets surrender: flame, ash, and chance collaborate with my labor, shaping surfaces that hold the memory of fire and time. Each object carries not only my touch, but also the chemistry of local clay and the residue of laughter and long nights with fellow makers in New Mexico.
The work is born from fixation- on form, on repetition, on material transformation. It’s an obsession with the act of making itself, with what happens when hands take over and shapes begin to speak. To date, I’ve made hundreds of triangles.
Abby Richardson, Triangles 9738, Ceramic Sculpture, White Shino Glaze, 11"h x 11"w x 11"d
INSPIRATION
Folded planes of clay rise and open, exposing interiors shaped by pressure, gravity, my touch and flame. The wood fire leaves a record of vulnerability and endurance across the surface.
Within Revealing our Magnificence, the work understands magnificence as emergence. Strength made visible through transformation. What survives the heat stands, lifted and present.
ARTIST STATEMENT
My ceramic work continues many themes of my architectural practice but through a different scale and an intimate, tactile medium. It engages form, space, texture, color, and material at a scale that fits on a table.
My process is highly intuitive, serial, and obsessive. Each “triangle” is built by folding clay slabs – again and again – through a method I call “rapid model making,” where the brain quiets and the hands do the informing/talking. This compulsion to repeat, to fold and refine, becomes a kind of ritual. In this way, the pieces make themselves into existence. I return to the triangle obsessively – not only for its structural clarity, but for the infinite spatial variations it offers. The units are assembled into shifting compositions that subvert singular viewpoints, creating tensions between stability and motion, clarity and ambiguity.
Texture and color emerge from wood-firing processes that resist control. Some pieces are fired in kiln, others in pits or dumpsters, always in a communal setting. Here, obsession meets surrender: flame, ash, and chance collaborate with my labor, shaping surfaces that hold the memory of fire and time. Each object carries not only my touch, but also the chemistry of local clay and the residue of laughter and long nights with fellow makers in New Mexico.
The work is born from fixation- on form, on repetition, on material transformation. It’s an obsession with the act of making itself, with what happens when hands take over and shapes begin to speak. To date, I’ve made hundreds of triangles.