We are able to hear a single tone. But we almost never (that is, without special devices) see a single color unconnected and unrelated to other colors. Colors present themselves in continuous flux, constantly related to changing neighbors and changing conditions.
-Joseph Albers, The Interaction of Color
My practice involves three separate, yet completely intertwined ways of working: ceramic sculpture, functional pottery and drawing. In the sculptural work, I construct compositions with minimalist, architectural ceramic forms which are coated with a film of directed or reflected light from adjacent, brightly colored surfaces. Based in color theory, these three-dimensional still lifes address the perception of objects and the spaces between. The functional objects I create also emerge from these observations. Simple vessels with white exterior surfaces are inextricably involved with nearby objects; the surface of one will always affect the perception of another due to shifts in the intensity and direction of light covering the forms.
Drawings become a record of the light and shadows that force the eye to shift over forms constantly, causing static objects to appear to wiggle. It is this constant movement, this lack of clarity, and this distortion, which drives my studio explorations and reveals how I perceive and create relationships between the objects in the lived space. Each work I create shares with the viewer a particular type of looking: one in which the act of noticing an object transforming from one moment to the next becomes a silent, almost meditative experience.
Roberta Massuch is in her 3rd year as a Resident Artist at The Clay Studio, and works as the studio technician at The Community College of Philadelphia. Originally from Minneapolis, MN, she received her BFA from Northern Illinois University in 2005 and her MFA from Louisiana State University in May 2013. Past residencies include: Worcester Center for Craft, Northern Clay Center, and Tyler School of Art. She was awarded a 2015 Independence Foundation Visual Arts Fellowship, which funded her participation in an 8 week Arquetopia Special Ceramics Artist Residency (2016) at the Arquetopia Foundation for Development, in Puebla, Mexico.
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