My favorite pot made with my teacher and friend Neil Boughton at Fitzroy Falls. Visited him a year after 2004 Gulgong. Really good fun stoking the kiln for a few hours. Done in less than a day. My first taste of small scale wood firing for just a few pots. Great fun.
In the constant of an eternal change, I find it essential to tell a story, a drama of life itself from something simple to the complexity that engages the emotion; conveying an instance almost theatrical to the eyes that behold!
James Seet 6.6.2011
I see life through intricate simplicity, often from a child’s perspective to notice the insignificant but yet profound with a seasoned perception; which denotes a metaphoric mirror reflection of creative possibilities befitting still a rational mind. It is this simplicity that allows curiosity, zest and my imagination to have the freedom to wander and expound my thoughts with inspiration.
In my recent work, I am mesmerized with the idea of repetition, not repetition in the usual identical clones per se but exploring into the concept of similar differences and different similarities. I do always prefer clay as a medium for 3-dimentional aesthetics. I find it pliable to visualize the process from thought to reality. I like the idea of individuals combined into a collective, thus themes/series are not just an installation by itself but a connectivity interwoven into a tapestry of emotion and relativity in conceiving thought with the subconscious existence to reason.
When I begin reviewing my work in the glazing process, I am reminded that simplicity is still the essence. Colours are too strong a statement in itself, thus I’ve chosen the two polar extremes of “non colour” to represent my work; white and black. The importance of creating a contrast plays a prominent role in my work although the white is not completely white and black is not pure black. With this irony, I hope to bring forward the visual dialog between my work and the viewer.