| Scott Borror |
I have a fascination with fire, there is nothing like watching the
fire dance over and lick the clay, whether it is a wood fire, Raku
or observing the effects of molten metal during the casting
process. Clay is the means by which I communicate my
thoughts and ideas. When I am covered head to toe in clay,
physically struggling with the medium or watching the color of
the fire in the kiln, I am fascinated with it. The human form is a
powerful vehicle to explore emotions, relationship struggles,
and the skeletons we hide within. The ideas for my forms come
from everyday struggles of life. I love texture and find that clay
allows a large variety for them from my experimentation with
pressed, battered implied and manipulated surfaces. The
figurative forms with their textures represent the broken and
weather skins of nature as they appear or the crusts of the
earth like the surface of a dried lake bed.
fire dance over and lick the clay, whether it is a wood fire, Raku
or observing the effects of molten metal during the casting
process. Clay is the means by which I communicate my
thoughts and ideas. When I am covered head to toe in clay,
physically struggling with the medium or watching the color of
the fire in the kiln, I am fascinated with it. The human form is a
powerful vehicle to explore emotions, relationship struggles,
and the skeletons we hide within. The ideas for my forms come
from everyday struggles of life. I love texture and find that clay
allows a large variety for them from my experimentation with
pressed, battered implied and manipulated surfaces. The
figurative forms with their textures represent the broken and
weather skins of nature as they appear or the crusts of the
earth like the surface of a dried lake bed.
| 1 |
| 2 |
| 3 |
| 4 |
| 5 |
| 6 |
| 7 |
| 8 |
| 9 |
| 10 |
| 11 |
| 12 |
| 13 |
| 14 |
| 15 |
| 16 |
| 17 |
| 18 |
| 19 |
| 20 |
| 21 |
| 22 |
| 23 |
| 24 |
| 25 |
| 25 On-Site |
