Artist’s Statement 2/23/07 Larry M. Brow
I’ve recently started to look at my work and career as if I was a musician rather than an object maker. Who would I list as my “influences,” and how long a list would it be? Do I only play well-rehearsed tunes written by other artists or do I improvise and “jam,” creating new beauties built of theme and discipline, impulse and moment? Am I a writer of jingles, pop songs, or symphonies? And is my genre jazz, rock, folk, or the blues? A lot of odd questions, I know, but lately the answers have pleased me.
My “Firetrap” series, in particular, has been a very good line to follow. These structures combine throwing and hand-building, modernist sculpture and post-modern architecture, simplicity and complexity, dignity and whimsy. I’ve even joked about them and the influence of the architectural firm of Gehry and Seuss.
I’ve also been pleased lately by my successes in the strangely intricate world of double-walled and upside-down throwing. Broader than broad rims, pierced works that nonetheless hold water, the puzzled looks of other potters, and decorating with the ultimate black of the pierced interior, have all added to the fun of what really ought to be an enjoyable enterprise all the time.
And my list of influences? Everyday it seems I find something new to add to the already long list. But best of all, more and more, the strongest influence on my work has been me. I’m looking forward to the even stronger work good “musicianship” promises ahead.
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