For years I attempted marry the malleability of freshly created wheel-thrown clay vessels, with the ossified, white-hard state of dry clay. But my “hopeful monsters” would resist integration. The works would sheer apart in the drying process or collapse in the white heat of firing, each element recollecting its very separate origin.
In a moment of intuition I saturated the dry vessel sufficiently to absorb moisture, but not enough to dissolve its structure. I raised it up and touched it to the belly of the moist, pliable vessel. The two joined together, becoming one object in consilient union.
These sculptural works are models of the ways we come together and fall apart.