Brittany Taylor Moore Ceramics

I never imagined myself as a ceramic artist, but it quickly evolved into a passion through my work at Barton College. Beginning with a need to work with my hands, I sought a medium that could merge a previously-established investment in the world of academics and the ever-present need to create. I found a home in the world of ceramics, where the physical aspects of building and manipulation of material merges with a focus in academics. To further explain, there is a sense of balance in composition and chemical changes to learn about in the making and firing processes. This connection has led me to create work that incorporates these many factors while drawing inspiration from the world around me.

I began my ceramic journey by learning clay building skills. This involved practicing the basic hand building techniques and building proficiency in wheel-throwing. Despite always being interested in art, previously I had never committed to the extent I have now. To push myself and my work, I have split my endeavors into two main categories. The first consists of wheel-thrown vessels, varying in size and shape, which are “added upon” using a colored liquid clay known as slip. The additions vary due to colorant, application method, and slip thickness. This body of work most often utilizes spikes, dots, or drips, inspired by artists like Yayoi Kusama with her repeating use of polka dots. The way this Japanese artist incorporates a single shape allows a sense of movement and emphasis that I strive to include in my own work. For added texture I take that concept a step further with the use of spikes rather than flat dots. When manipulating my wheel-thrown work, nothing is off limits. This can be seen in the use of contradicting messages, as I place spikes on what would be used as a cup, negating the functional aspect and making a functional piece of ceramics and making it almost untouchable. This contradiction can be seen in the pieces Spiked and Coated, which used different-colored slips for the spikes and were glazed clear to emphasize the colorants as well as the natural shape.

The other route my art has taken consists of mixed-media sculptural work. This typically includes the use of clay, and utilizes wire, metal, and hanging elements. Inspiration for this work comes from pop artist Keith Haring and his otherworldly use of UFOs and stylized human figures. I use these pieces to compare the primitive nature of clay with the scientifically-advanced perception of alien life. Abduction uses clay and wire to string together cubes, with a tile on top depicting a UFO, as if it were abducting the carved cubes. To create this piece, I carved each cube once it was leather hard, followed by bisque firing and a glaze firing in which I utilized a mix of raku glazes and cone 6 glazes for greater variety. Once they were fired, I connected each cube using wire and attached the entire piece to wooden knobs for hanging. The process used here is relevant in the construction and firing of all ceramic work, as each step requires a different level of understanding of the materials and overall vision.

My future holds many possibilities, and the most certain aspect will be a continuation of creating ceramic work. I intend to grow in both wheel-throwing and sculptural work, while also working toward understanding the chemical makeup of all ceramic components. Whether it be a short-term advancement to graduate school or a chance to work in the trade to advance my skills, I know ceramics is a home for me. Advancing academically with the possible pursuit of graduate school will further this effort as I work toward sharing my own knowledge in whatever path I walk down. The most efficient approach to growing and reaching my goals will be continuing to work through building, reading, exploring, and an overall sense of openness towards the world around me.