CORINNE D. PETERSON STATEMENT
For me, artmaking is a force for developing connections between the past and present, between opposing forces of nature, between the intellect and subconscious and between me and my artistic materials. I have stripped away much of the overt symbolism of my earlier art to work mainly with the forms of architecture and nature. In my newest work, I use openings to explore elusive inner life, its shifts and mysteries, as it relates to outer life.
Working with nature and clay connects me to my early roots of growing up on a Minnesota farm. Cracks, fissures, scars and pools of glaze are all part of my personal artistic vocabulary. The colors I use come primarily from rocks, leaves, and other bits of nature I’ve collected and studied since childhood. I use layers and layers of color and fill the cracks with dark tones for a sense of history. I intend for each work to expose the evidence of its own past, much as a person reveals an accumulation of his or her experiences.
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CORINNE D. PETERSON STATEMENT
For me, artmaking is a force for developing connections between the past and present, between opposing forces of nature, between the intellect and subconscious and between me and my artistic materials. I have stripped away much of the overt symbolism of my earlier art to work mainly with the forms of architecture and nature. In my newest work, I use openings to explore elusive inner life, its shifts and mysteries, as it relates to outer life.
Working with nature and clay connects me to my early roots of growing up on a Minnesota farm. Cracks, fissures, scars and pools of glaze are all part of my personal artistic vocabulary. The colors I use come primarily from rocks, leaves, and other bits of nature I’ve collected and studied since childhood. I use layers and layers of color and fill the cracks with dark tones for a sense of history. I intend for each work to expose the evidence of its own past, much as a person reveals an accumulation of his or her experiences.
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