Quartz Inversion

ALEXANDER M. CLINTHORNE

Honolulu, HAWAII, USA

 
Alexander M Clinthorne in his studio

Alexander M Clinthorne in his studio

Alexander M. Clinthorne, Deep Repository, 2014. Stoneware, electric fired, 17’ x 4’ x 4’.| Installed onsite at Artbiotop in Japan, this spinal form rests near a river and has gathered a beautiful patina of moss and mushrooms over the years.

Alexander M. Clinthorne, Deep Repository, 2014. Stoneware, electric fired, 17’ x 4’ x 4’.| Installed onsite at Artbiotop in Japan, this spinal form rests near a river and has gathered a beautiful patina of moss and mushrooms over the years.

Alexander M. Clinthorne, Biotop Spine, 2014. Stoneware, woodfired, 12 x 12 x 12 inches

Alexander M. Clinthorne, Biotop Spine, 2014. Stoneware, woodfired, 12 x 12 x 12 inches

The two studios that I normally work in are currently inaccessible. The work I make is typically large, often unnecessarily heavy, and requires a couple of strong ceramists or a lifter. Having no studio/clay/lifter access, the Covid-19 pandemic has become a catalyst for change in my usual ways of working. I have combined the delicately pinching porcelain of my pottery with the flowing forms of my sculptural work. Because these forms are fragile and are going to be difficult to transport, I am experimenting with making them modularly with the intention of combining them after firing.

Covid-19 has made for some scary times, but my spirits remain high. My first child was born March 28, 2020. He has been a bright reminder that the miracle of life hasn’t gone anywhere. Because of the directive to stay at home, I am able to observe and be inspired by every moment with him.

Life as a new parent means that lack of time is a major limitation. So, with the scarce time I do get to work on art, I am compelled to work efficiently. I find myself meandering down much fewer time consuming tangents. Staying at home means resources are limited. I have not only had to learn to work small, but also to make the best use of the single bag of porcelain that I have at home. My clay and time seem so much more valuable and I am sure that this translates into the work.

Alexander M. Clinthorne, Biotop Spine, 2014. Stoneware, wood fired, 16 x 16 x 24 inches

during the lockdown, Alexander M. Clinthorne had only one bag of porcelain at his disposal, so he had to be frugal, using it to make a series of “floral modules.” Each individual flower will be rearranged once it is fired.

Alexander M. Clinthorne, Floral Modules—1, 2020. Porcelain, currently unfired, 12 x 12 x 12 inches

Alexander M. Clinthorne, Floral Modules—2, 2020. Porcelain, currently unfired, 12 x 12 x 12 inches

 
Alexander M. Clinthorne, Floral Modules—4, 2020. Porcelain, currently unfired, 12 x 12 x 12 inches

Alexander M. Clinthorne, Floral Modules—4, 2020. Porcelain, currently unfired, 12 x 12 x 12 inches

 
 

Alexander M. Clinthorne, Floral Modules—3, 2020. Porcelain, currently unfired, 12 x 12 x 12 inches

BIO: alexander M. Clinthorne

Alexander M. Clinthorne is an American artist who works primarily in ceramics but also in sound. His work ranges from ambitiously large forms with aggressive use of texture, to whimsical and delicately hand-pinched porcelain pottery. He is best known for his large desiccated forms of insects and dried leaves. Co-founder of Two Hold Studios, a collaborative pottery design studio that he operates with his wife, Kimberlie Clinthorne-Wong, he has taught artist workshops in Indonesia, Malaysia and Japan and has represented the United States at various artist residencies and symposium. He began teaching at the university level in 2014 at Montana State University and currently teaches ceramics at the University of Hawaii at Manoa.

 

rate of affection

Alexander Clinthorne nominates Rachael Marne Jones