We understand materials through contrast. In my jars, I'm paying attention to the spiraling, slower outer movement of the jar bodies and how they push against the tighter, faster, inner concentric circles of the lid connection, ornamentation, and finial.
Lid and jar fit is paramount to a successful lidded jar. The tactile experience of lifting and replacing a lid should be invoke a celebration of mastery in craft. Whether the jars are used for rice, dog treats, cookies, and other dry storage, or for decoration, the connection needs to feel, sound, and look like a perfect pairing.
Ceramic Sculpture by Colby Charpentier
Cups are about accessibility. We know immediately what a cup is from its scale, proportions, and simple format. From there, they become an exploration of relationships between utility and the body, movement and volume, surface and color. I want my cup volumes to express motion and fullness of form, while presenting an invitation to utility. Wood and soda fired surfaces are used to accentuate form, layering information about how the draft of the kiln and glazes interact with the cup forms.
Pots are an arena of research. I find myself drawn, time and again to investigate utilitarian forms as a problem solving exercise. What is the essence of a form such as a basket or a bowl? I then try to re-conceive these forms as an expression of these utilities.