MINDY MOORE

MINDY MOORE

Artist Statement:

Clay is such a wonderful, luscious, malleable, strong substance.  Its essence is the essence of my continued exploration. Clay can become so soft that it turns to liquid and yet when left to dry, can hold almost any shape. I continually marvel at this quality. This essence of clay keeps me interested in the possibilities that can present themselves with each piece.

My approach has a spontaneous quality as I like to be open to the moment and see where certain shapes may open themselves to. Clay and I are in conversation with each piece that I work on. How I push the form depends on a variety of circumstances: wetness of the clay and amount of clay being used, are two.

The shape and size of each piece informs the glaze to use and which firing technique would be appropriate. The luscious turquoise of Raku firing enhances certain shapes and the matte simplicity of the electric kiln glazes does the same. The conversation continues until the pieces are cooled, and their colours and finish are revealed.

Tempus Series

The wall pieces were inspired by my love of clay’s textural possibilities. The earthiness of the material led me to explore landscapes that could hang on the wall. The Tempus Series is a reflection of the 4 seasons.

Revolution: Revelation

Created for a Craft Nova Scotia exhibition related to the concept of “revolution,” these 4 pieces are from a series. Many balls of clay were thrown on the wheel with the only preconceived idea being that the shapes be bottle-like. As the throwing process evolved, shapes were revealed. The revolution of the wheel and evolution of the form, while throwing each ball of clay as well as during the trimming process (when the pieces were leather-hard), the remnants of the trimming and throwing processes are as essential to the overall forms created. Sometimes those remnants fell off the piece. Still being very much a part of the forms, they were saved, fired and are still part of the overall assemblage of pieces.

Vases

The 4 vases were thrown, pinched and paddled. Raku-fired, they are delicate but show strength by their form. Like the fullness of a pregnant woman’s belly, these pieces show that they can hold something precious, even something as simple as space.

Artist Bio:

Mindy Moore has been a studio potter for over 40 years. She first touched clay in high school and her experience on the potter’s wheel at that time inspired her to study ceramics. She went on to study at Syracuse University College of Visual and Performing Arts under the tutelage of Henry Gernhardt and David MacDonald where she received a BFA in Ceramics.  While there, she was introduced to the work of Peter Voulkos and other Abstract Expressionists who influenced her approach to clay work. While at Syracuse, studies in Far Eastern ceramics also introduced her to the work of Shoji Hamada and the concept of Wabi, as well as other ceramic artists of the time. Mindy lived in New York City following school, where she continued her work in ceramics while studying further with many artists including Betty Woodman, James Makins, and Byron Temple. She also began studies in Chanoyu (Japanese tea ceremony). She moved to Halifax in 1987 and has continued her explorations in clay. Mindy has continued her studies in Chanoyu, as well. Her clay work has been exhibited widely throughout Atlantic Canada and some areas of the United States.