Homo-Barro

I first started using clay in Oaxaca, Mexico in 2007.  I found the use of clay in the culture, from simple practical forms to traditional and contemporary artworks, to be examples of how an object can resonate with the memory of its place of origin and human creativity.  As an abundant and humble material, clay has no intrinsic form, so in practice it can take any shape the artist is capable of making.

I was particularly moved by the use of clay in Mexico and Colombia in its most raw, artisanal ways, such as simple hand-made pots, I found in local markets (plazas de mercados), or hand-made tejas produced in rudimentary Chircales in Boyaca. The sculptures in this show were primarily made and fired at a Chircal in Sachica, Boyaca.

I approach the use of barro/clay as a way of experimenting and playing, finding connections from what I have seen, not necessary looking for a meaning, but allowing myself to be immersed at the moment to produce my own expressions and forms. Working at the Chircal presented itself as a liberating experience far away from my regular New York studio work and any art world expectations or demands. I was stimulated by the environment of the production, beginning with the raw material that I used and stood upon, the interactions with the workers who were very friendly and who animated our work environment with their jokes and the vallenato music played by an old radio in the background.

Drawing are the most immediate medium for me and can be part of fleshing out ideas or reflecting on work completed. I allowed myself to use an abundant source of media as a way to explore unbridled expression and emotions. For the drawing in the show I used a combination of charcoal, wax, pastels and paint sticks.

June 17, 2024