 Artist
Statement:
As
the 11th of 12 children in a
family of meager means, I had few toys to
occupy my time.
I spent much of my time doing outdoor
activities such as finding ant lions,
catching bees, turtles, butterflies and
sometimes a bird or two. Nature fascinated
me and still does.
I made toys out of seemingly useless
objects. An old car tire was one of my
favorite playthings. I could roll it around
for hours. A box and a couple of sticks was
an instrument. I always used my imagination
to entertain myself.
One
of my favorite activities was drawing on the
ground. Our front yard had no grass, only
dirt. When we did the yard, we made flowing
lines in the dirt with the rake. I would get
a stick and draw images in the dirt that I
observed around me: bugs, wasps, dogs, cats,
faces etc.. The feeling of the dirt in my
hands felt wonderful. I loved drawing so
much that I remember getting into trouble
with my teachers by decorating the borders
of my class work with interesting designs. I
thought it would please my teacher, but she
was not amused.
As
an adult, I maintain that love for drawing.
It became a companion and friend. I became
proficient at various media; pen and ink,
graphite, intaglio, woodcut, etc.. Before
long, I became very interested in color and
the potential of color expressing my mood
and feelings. I began to incorporate color
in my work. Choosing a color is like
choosing a word for a poem. Color alone
impresses so much.
While
having fun painting, I met a potter that is
now a good friend of mine. Observing him
working, I was curious about what I could
create with clay. He offered me some clay,
taught me the basics and I went to work. As
I worked with the clay, its smell and
earthiness reminded me of the of my bare
dirt yard where I drew and played as a kid.
It gave me a sense of peace I had never
known before. As I worked with the clay I
felt the potential of what I could create
and articulate with it. That was over 13
years ago.
One of the attractive features of
clay is its versatility. If handled right,
it can be sculpted into nearly any form and
texture. Sculpting has afforded me to be
more expressive as an artist. In my mind,
I’m still painting, but after creating a
beautiful form, I feel I have the best of
both worlds.
I
feel very fortunate doing that which I love
so dearly. My work has been collected by a
number of serious collectors. I also get
chances to meet interesting personalities
and visit interesting places. I
have a fascination for travel and gaining
further insight through conversation and new
perceptions. My whole-life experience goes
into my art.
Methods:
I
love the clay medium, the smell, it's feel,
it's coolness, it's warmth. I start with
a 25lb lump of clay. I use various ways to
make my form : slabs, coils, banding wheel
etc. The clay is pretty firm, so it takes a
little arm and hand strength. The clay I use
has a
lot of body giving me the freedom to
manipulate the slab into a form. I might get
6 square
slabs and put them together to form a cube,
drape the slab over a wok to get certain
form
like a semi-sphere or turn the slab on it's
side to make a cone form. I might cut it
into
strips and use a banding-wheel ( its like a
heavy-duty lazy Susan) and build them up to
form a cylindrical form.
Once
I complete the individual forms I put them
together to make a collective
form. When working on a piece I cross
bridges as I get to them. And form is the
concern
here. To be a competent sculptor I believe
he/she must be able to balance and properly
negotiate the visual and the tactile element
of shape or form. Much of the time visually
the form is good, but as I run my fingers
and hands over it I fine that it lack
something.
And my touch can sense it. Then there are
times that the form feels right tactilely ,
but
not visually. This poses a dilemma.
Sometimes I side with the visual element,
sometimes
with the tactile element or a balance of the
two. If I go with the tactile element I say
to
myself, 'art isn't all about beauty.'
Once
I complete the entire form that comprises
the sculpture I bring it to life by
drawing on its surface. I use an etching
tool to scratch shallow lines on the surface
of the
clay body. This is a most mystical moment
for me. This turn a pleasing form into a
sculpture, releasing its life and spirit.
Next is the first firing in the kiln.
Depending on the size of the piece, it takes
2 to 4 weeks for a work to dry sufficiently
before being ready for the first or bisque
firing. The temperature must be taken up
very
slowly and down very slowly to prevent
stressing the clay body while it expand and
contract. After the bisque firing comes the
color glazing.
Glazes
are painted on using a brush. This is the
most mentally exhausting and
precise. I only work with 10 to 15 colors
and certain of them don't look right when
they
boarder one another. The colors must
harmonize cohesively. Color give the piece
personality and mood. I must glaze-fire up
to 5 times because of the various color of
glaze 1 use. (BECAUSE of the etching in
of the designs and intricate glaze work my
works are sometimes mistaken for mosaics. )
After the glazing the work is usually
complete unless I decide to do some
structural work or embellish with seashells
,copper
wire or something to that effect .
Contact Information:
GREGORY
HUBBARD
103-B Embelton Ct. Albany, GA. 31707
GREGORY HUBBARD@AOL.com
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