Squat Round Vase, Kayla Noble
Hand-built woodfired one-of-a-kind piece by Newburgh artist Kayla Noble. Exquisite movement and texture. Approx. 6" h x 6" w.
From Kayla:
Families of vessels are in conversation with communal action and rituals of food cultivation and subsequent abundance. Seeds are sown and nurtured, vegetation is harvested and stored, food is served and shared. There is containment, then there is service. In the work I balance gentle exploratory caresses with guttural and instinctive decisions. Unapologetic femininity reveals raw, emotive displays of longing and loneliness. My processes are unassuming investigations of beauty and destruction.
The performance is private, a dance between myself, my pots, and my camera’s lens. I indulge on abundance- food, my body and fruit; juices run down and stain my skin to record touch. I share the documentation, carefully curated windows into a vivid and poignant world. Conceptually and visually I am inspired by abandoned and decaying dwellings- sacred and ruined. Even while intact, the house can be a fragile and uid vessel- full of false stability. Our constructed worlds of escape are constantly under threat, the problems of everyday seeping their way into our imaged alternative realities.
I enjoy overcoming technical and logistical challenges that arise when working at a large scale. My building method in conjunction with choices made in clay body development, allow some of my work to be exceptionally lightweight. These light and airy vessels work in stark contrast with my choices to work solidly. Solid building allows for another opportunity to overcome material challenges.
The process of woodfiring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the fierceness of the kiln.The process demands all of me- my body an extension of the objects. My tools, an extension of the hand.
My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. I am currently researching the use of glacial lake clays and shale local to the Hudson Valley as clay body additives and glaze material. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone.
Hand-built woodfired one-of-a-kind piece by Newburgh artist Kayla Noble. Exquisite movement and texture. Approx. 6" h x 6" w.
From Kayla:
Families of vessels are in conversation with communal action and rituals of food cultivation and subsequent abundance. Seeds are sown and nurtured, vegetation is harvested and stored, food is served and shared. There is containment, then there is service. In the work I balance gentle exploratory caresses with guttural and instinctive decisions. Unapologetic femininity reveals raw, emotive displays of longing and loneliness. My processes are unassuming investigations of beauty and destruction.
The performance is private, a dance between myself, my pots, and my camera’s lens. I indulge on abundance- food, my body and fruit; juices run down and stain my skin to record touch. I share the documentation, carefully curated windows into a vivid and poignant world. Conceptually and visually I am inspired by abandoned and decaying dwellings- sacred and ruined. Even while intact, the house can be a fragile and uid vessel- full of false stability. Our constructed worlds of escape are constantly under threat, the problems of everyday seeping their way into our imaged alternative realities.
I enjoy overcoming technical and logistical challenges that arise when working at a large scale. My building method in conjunction with choices made in clay body development, allow some of my work to be exceptionally lightweight. These light and airy vessels work in stark contrast with my choices to work solidly. Solid building allows for another opportunity to overcome material challenges.
The process of woodfiring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the fierceness of the kiln.The process demands all of me- my body an extension of the objects. My tools, an extension of the hand.
My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. I am currently researching the use of glacial lake clays and shale local to the Hudson Valley as clay body additives and glaze material. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone.
Hand-built woodfired one-of-a-kind piece by Newburgh artist Kayla Noble. Exquisite movement and texture. Approx. 6" h x 6" w.
From Kayla:
Families of vessels are in conversation with communal action and rituals of food cultivation and subsequent abundance. Seeds are sown and nurtured, vegetation is harvested and stored, food is served and shared. There is containment, then there is service. In the work I balance gentle exploratory caresses with guttural and instinctive decisions. Unapologetic femininity reveals raw, emotive displays of longing and loneliness. My processes are unassuming investigations of beauty and destruction.
The performance is private, a dance between myself, my pots, and my camera’s lens. I indulge on abundance- food, my body and fruit; juices run down and stain my skin to record touch. I share the documentation, carefully curated windows into a vivid and poignant world. Conceptually and visually I am inspired by abandoned and decaying dwellings- sacred and ruined. Even while intact, the house can be a fragile and uid vessel- full of false stability. Our constructed worlds of escape are constantly under threat, the problems of everyday seeping their way into our imaged alternative realities.
I enjoy overcoming technical and logistical challenges that arise when working at a large scale. My building method in conjunction with choices made in clay body development, allow some of my work to be exceptionally lightweight. These light and airy vessels work in stark contrast with my choices to work solidly. Solid building allows for another opportunity to overcome material challenges.
The process of woodfiring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the fierceness of the kiln.The process demands all of me- my body an extension of the objects. My tools, an extension of the hand.
My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. I am currently researching the use of glacial lake clays and shale local to the Hudson Valley as clay body additives and glaze material. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone.
