El Morro is a monument west of the El Malpais (badlands) wilderness in the high desert of northwestern New Mexico. Iconic sandstone bluffs rise high above the pool of water, an oasis for travelers for hundreds of years. Markings in the sandstone left by Anasazi dating back to 1200 AD., Spanish Explorers, American Soldiers and pioneers travelling by stage coach. Today it is referred to as ‘Inscription Trail’ documenting some of the earliest graffiti in North America.
The 'El Morro' series references my interest in the investigation of line through drawing, photography, and sculpture in work that has paralleled earlier works in ceramics. It is perhaps a precursor to a return to work that is referential if not specifically figurative in nature. These lines are Jungian in the way they bounce and scatter over the surface interacting with the fire and smoke, sometimes obscuring or effacing previous markings or physical gestures, while beginning to describe and define the ceramic form in a way not otherwise possible in this medium by extending the recording of its dynamic creation.
I have made various attempts throughout the years to incorporate linear components in saggar-fired pieces, but it often felt forced or arbitrary. Several months ago, while trying to reposition a piece during a firing with a branch from my sycamore tree, I discovered that the black marks that resulted were still there in the morning when the work was cool. In subsequent firings I have found that by varying the hardness of the wood and the timing of the firing, I can now control the quality and tone of the line as it pertains to each piece.