Rebecca Arthur
Rebecca Arthur
www.rebeccaarthurart.com
Born in the Midwest, Rebecca relocated to the West Coast to pursue an art degree in interior design. After working in architecture for several years, focusing on interior architectural spaces, she became a wood furniture maker. Inspired by the contemporary furniture makers Sam Maloof and George Nakashima, Rebecca developed a minimalistic, sculptural style featuring bold forms made of contrasting wood species.
Rebecca then began working with clay. The sensuous, tactile forms became an extension of her sculptural work in wood. The fluid possibilities proved endless and intriguing. Tapping into her minimalistic aesthetic, she is currently exploring the relationship between these forms and various surface treatments.
A majority of Rebecca’s ceramic work features Western Raku, Pit Firing, Horsehair and other low-fire techniques where she is able to embrace the randomness and immediacy of a fast, lower temperature firing. Of the process she says “using these methods, the vessels become the canvases upon which I paint with fire, producing unpredictable, almost surreal results.”
Rebecca then began working with clay. The sensuous, tactile forms became an extension of her sculptural work in wood. The fluid possibilities proved endless and intriguing. Tapping into her minimalistic aesthetic, she is currently exploring the relationship between these forms and various surface treatments.
A majority of Rebecca’s ceramic work features Western Raku, Pit Firing, Horsehair and other low-fire techniques where she is able to embrace the randomness and immediacy of a fast, lower temperature firing. Of the process she says “using these methods, the vessels become the canvases upon which I paint with fire, producing unpredictable, almost surreal results.”
|
Raku firing is done out in the open air. The vessels are heated rapidly, reaching the desired temperature in under an hour. At 1300oF I pull the vessel from the fire. I have a window of only about 200o and must work quickly.
I place the horsehairs on the hot vessel one, two or a few at a time. The hair sizzles, twists and turns as it burns away, leaving a carbon trail of its journey. As I place the hair, breezes move and twist it. Carbon from the smoke of the burning hair drifts across the surface. Then I add a few grains of sugar. The carbon dots left as the sugar burns away provide a nice balance, a counterpoint to the lines of the horsehair. Zao Wou-ki, the Chinese/French abstract painter mused about how to paint the wind. My horsehair vessels are abstract compositions – painted by the wind. I delight in the randomness, with so much out of my control. |
