Ray Gonzales

 

I WORK PRIMARILY IN CLAY. HANDBUILDING IS MY PREFERRED TECHNIQUE. PHYSICALLY POUNDING A SLAB OUT OF A 25 POUND BAG OF CLAY IS ENERGIZING AND PRESENTS ENDLESS OPPORTUNITIES. WAS THE CLAY DRY AND DID THE SLAB CRACK, WRINKLE OR PICK UP AN ODD TEXTURE FROM MY RING OR THE WEDGING TABLE?  MAYBE THE CLAY WAS WET AND STICKY AND WHEN PEELED OFF THE CANVAS LEFT A SUBTLE, PRICKLY TEXTURE ON THE SURFACE. ALL GREAT STARTING POINTS FOR EXPLORATION.


I’M CURRENTLY WORKING ON A COLOR PLATE SERIES. THESE ARE SUBSTANTIAL, ROUGHLY CIRCULAR, 2 FEET PLUS IN DIAMETER WORKS IN CLAY. THESE ABSTRACT PIECES ARE RICHLY TEXTURED WITH MULTIPLE GLAZE COMBINATIONS POURED OVER THEM. THE RESULTANT IMAGES MANY TIMES REFERENCE LANDSCAPES, SEASCAPES, OUTER SPACE AS WELL AS WHATEVER IMAGES THE VIEWER BRINGS TO THE TABLE.  IN TRUTH, TO ME, THESE WORKS ARE NON-OBJECTIVE EXPLORATIONS OF COLOR, FORM AND SURFACE.


INFLUENCES: I’M INSPIRED BY AN ECLECTIC MIX OF SOURCES. PETER VOULKOS LARGE CLAY PLATES, RUTH RIPPONS LUSH GLAZES, PETER VANDENBERGE’S DRY SLIP SURFACES, VAN GOGH’S THICK TEXTURED PAINTINGS, JOSE MONTOYA’S EARTHY COLOR PALETTE, A DRY LAKE BED, AN OIL SLICK WET ROAD, THE FIRST DROP OF WATERCOLOR MEDIUM FLOATING IN A WELL OF WATER AND TOO MANY OTHERS TO LIST.


LIFE IS GOOD.



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