Artists live in a tight world of history and influence. The medium an artist uses often points to possible penchants for attractive pods of that network. How an artist assimilates those areas of interest is complicated and eventually translates into what the artist ends up doing in both apparent and undetectable ways.
Peter Pincus is a contemporary ceramic artist. He has in his own practice evolved a means to unite history and influence to create his signature vision. Although he speaks of ceramics as being “too material specific to be classified as fine art,” he has produced an array of objects that walk a fine line of defying that statement.
As a teacher, husband and father, he and his wife have bonded to establish a vibrant working environment. Their studio is organized and stocked plentifully with materials exemplified by shelf after shelf after shelf of color-infused liquid slip clay. Twenty hours of studio time per week unfolds not o…
Learning new image languages
Is the same as inventing new words.
How do we know their derivations?
We view them in the context of history.
Does the history matter?
When the ‘present time’ is so trendy?
History looms large in consciousness.
Yet what happens right in front of our eyes
Can be held in disbelief and ignored
Or understood through study.
To study can be instinctual.
Rather than built into the rapidity of button pushing.
The digital age has always existed.
Instruments implementing the parts are different yet correlated.
So why can’t we study and understand?
As opposed to scan, send and share?
We can tap the larger, denser, more information picture.
We can learn about derivations and history.
The potential of discovery underneath the keyboard is vast.
To take advantage of it is even admirable.
Sometimes taking things apart and putting them back together in unpredictable ways
Allows for unexpected perceptions and learning.
How could we forget?
What did we learn in school?