Patricia Leigh Forst
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Gibsons
For many years I have travelled through the canyon lands of the United States as far as Santa Fe, New Mexico, and have longed to capture the monumental, yet tranquil quality of the mountainous landscape of that area. Now for the first time I feel I am beginning to find ways to do that in my standing pieces.
Last year [2008] at the Metchosin International Summer School of the Arts I attended an "Aesthetics of Ceramic Design" workshop given by Les Manning, and he challenged me to create murals without the slab of clay on which I usually built up my images. The biggest deterrent to eliminating this slab was that I could not see a way to hang the mural, which I usually glue to a wooden frame so that it can be fixed to the wall. With experimentation, I soon discovered that visually there was no need for the clay slab, but I still had the problem of how to hang the finished piece. However, I have found one answer to that problem in the wall mural included in this collection.
For many years I have travelled through the canyon lands of the United States as far as Santa Fe, New Mexico, and have longed to capture the monumental, yet tranquil quality of the mountainous landscape of that area. Now for the first time I feel I am beginning to find ways to do that in my standing pieces.
Last year [2008] at the Metchosin International Summer School of the Arts I attended an "Aesthetics of Ceramic Design" workshop given by Les Manning, and he challenged me to create murals without the slab of clay on which I usually built up my images. The biggest deterrent to eliminating this slab was that I could not see a way to hang the mural, which I usually glue to a wooden frame so that it can be fixed to the wall. With experimentation, I soon discovered that visually there was no need for the clay slab, but I still had the problem of how to hang the finished piece. However, I have found one answer to that problem in the wall mural included in this collection.