Issue No. 9 – September 2015
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Clay laminated and impressed with oxides, feldspar, quartz and glass, fired at 2350 degrees Fahrenheit
“The eye tries to understand what it sees when lamination arches from form, bowed in the firing, so daylight appears between the cracks. It is as if the eye recasts folds and curves to create familiarity to look like something it recognizes. Many of these did fall, implode, collapse in the stretching intended to enhance their lines. Why were they pushed to such extremes?
Some can’t raise their hands because they don’t have arms or just stumps for arms in these days. Those who raise hands may not all get them all the way up from the weight or maybe they are prevented. There are all kinds of postures in hands raised, just like there are all kinds of reasons for raising them. Surrender is implied, and praise. Also sacrifice. Those without hands are the most poignant if we imagine we can see the heads and the bodies, as if the arms and hands were wrapped so that armed and militarized security forces thought them ambiguous, concealing something under their cloaks. Beating hearts.
Some of these may be considered Protest Jars. These ideas arise in conversation like legends of the unconscious, not yet written exactly, with many sources of vacancy and presence, vacancy of the design and designer. Making by erosion, breakage, eruption, gravity, is vacancy. The world is before us, but the pot remains after. Ask what he will do tomorrow if he had success today. The answer is there is no time and what is done before is during and after.”
AE Reiff is a scribe of the social-medicinal history of native southwest plants who operates a bakery near Marfa, TX. These plants are not confined to the Utah canyons and deserts, but range south to Marfa and Big Bend, which impacts the sightings of those mythogmas, the cartoon shadows of the world indexed at encouragementsforsuch.blogspot.com, light and shadow of society and world by day, intercessor by night.