S ize M atte YS By Keith Rice-Jones

Size Matters - New Sculpture by Keith Rice-Jones is at the Gallery of
BC Ceramics September 4 to 30.

I still have my first big pot. It’s a sweet little thing, coiled from scrap
clay. I brought it all the way back from England in 1976. I had been
there on a course and had been stimulated by large Nigerian coiled pots.

Drawing influences from a variety of different cultures has been a
strong aspect of much of my work and I continue to explore aspects of
this craft approach. However, my current sculptural work has its roots
in the huge influence of Modernism on my original schooling in the
1950s and 60s.

My first shift into a completely abstract use of pyramidical elements
that I had been using for architectural and ritual-inspired vessels, came
in 2001 when I was working in Japan. The first piece referenced the
shapes in two of Magritte’s paintings. This began a series, exploring
the possibilities of forms incorporating the two pyramids. With the
addition of circles spheres and rectangles, a play began with the forms
and the negative spaces between, culminating in Primary Energy at the
Gallery of BC Ceramics in 2003.

For some time ] had been wanting to explore more flowing forms
that would be scaled up versions of carvings, and had had several
maquettes in soft firebrick sitting on a shelf in the studio for some
years. In 2006, I had a three-month residency at Sturt Contemporary
Craft Centre in Australia and used this opportunity to break into a
new way of working. Initially, moving from what I knew, I translated
the forms into curved planes, which I firmed up in slings, and worked

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me

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Totem, by Keith Rice-Jones.

with the the geometric forms in a much softer state than I was used
to. Since these initial pieces, I have developed a method of pinching
together small accretions like a mud wasp and the process is much
more contemplative and akin to the act of carving.

With both the geometric and carved pieces, ] am limited by the size
of the kiln. Initially, being able to lift it was another rule. Now I add
bases and get help when I need to move pieces!

‘The other direction I am pursuing is to assemble individual forms
after firing. This allows me to transcend the height limitations of the
kiln. Interestingly, these forms incorporate ideas and processes from
both my approach with the geometric and the carved work. Some of
the individual elements of the assembled forms are from moulds taken
from initially carved Styrofoam. The internal supporting parts are very
much constructed and the individual bases are essentially slab built.

‘These are large pieces and, though transforming an interior space,
naturally find their place in outdoor settings for most people.
Supplementing the large assembled pieces is a series of smaller versions
inspired by some of the originals and fired in one piece. If I draw the
analogy of paintings and prints, these are numbered limited edition
forms from a mould and, like prints, are relatively cheaper originals.
In fact, many bronze sculptures are often made in small editions; it
is nice to go and visit Henry Moore's Knife’s Edge on the London
Embankment in London as well as the one in Queen Elizabeth Park
here at home. Because these smaller forms use a common base, include
the pod form and are press-moulded, which is like casting, I] have
called the series Podcasts!

GUILD ee
of BRITISH

COLUMBIA
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Potters Guild of BC Newsletter « July/August 2040

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