Artist Statement
My ceramic sculptures focus on the impact of the Atomic Age on American society beginning in 1939, continuing through the Cold War era to the present day. These are fascinating times in our American history. War, along with social and economic changes led women into and then out of what were previously male dominated roles. Men continued to serve as soldiers, husbands and fathers, but with a new commitment to providing for his nuclear family. The new flourishing economy allowed families for the first time to afford homes in Levittown communities, the first structured, suburban type housing developments. Along with the being affordable, they also came with rigid rules for living in the new society. This newly reestablished desire for domesticity was overshadowed by the development and use of nuclear weapons, the ensuing weapons race between the Soviet Union and the United States and our interest in using �our friend the atom� to generate bountiful, cheap nuclear energy.
To reflect these elements of our history, in the piece �Barb Worked in a Factory� I blend a family story with historical images and icons to portray individuals and events in my own unique style. This style is influenced by my research into contemporary ceramic sculptors such as Robert Arneson for his sculptural political satire and Kathy King�s unique feminine perspective on contemporary women�s issues. In the historical aspect, I have read the books by and met with Elaine Tyler May, who is commonly thought to be the leader in her field of 20th century American history, exploring the ways in which gender and sexuality reflect and express American political, cultural and social values. Her research directly influenced my piece titled �Swing Shift,� where two structures are sided back to back. A submariene with the incised word heroine and a Levitttown styled home with the word sweetheart incised upon its� roof illustrates the contrasting and confusing expectations of society impressed on women in the years following the end of WWII.
My ceramic sculptures are slab built of white stoneware clay, modeled, carved and incised. I also use molds of various types when creating forms in multiples. I use a combination of chemical stains and velvet underglazes to achieve bright colors with a sense of deterioration. On occasion I use colors, or the lack of, to emphasize a concept as in the piece �Safe at Home.� This piece illustrates the containment of the nuclear family durring the Cold War. The black and white exterior takes the shape of the little boy bomb with the texture of a sided home and picket fence. In contrast, a door opens to reveal a full color interior showing a woman removing a dish from her oven as a child waits. The majority of my pieces average 24 inches. This size is calculated to foster a more intimate relation with the viewer.
In conclusion, my interest in these specific eras is a result of my studies into my families� history. Their stories are so memorable and rich in historical significance, that I am led to believe that we as individuals are shaped partially by the decisions of our ancestors, no matter how many generations removed. Our lives are like transparencies in a stack. Though the two might not touch, the images overlap and show through creating a new identity. I am a product of the contributions of family members past, of our society, of our world and of my own life choices. My work illustrates in a narrative fashion those situations and elements of my family�s past that constitute my identity.