Artist's Statement
CROCHET PROCESS
Many factors remain a constant in my present work. I continue to examine the possibilities within fixed parameters.
The work is process based. The process is an active and visible factor in the look of the finished piece. Cotton cord and a single crochet stitch create a recognizable texture. Through repetition, I gain an understanding of the propensity of the material and process.
Colors develop from natural materials. I dye and over dye fiber to achieve a personal sense of harmony.
I begin with an initial plan and then watch it jump the tracks and take off in another direction. Random patterns, colors and juxtapositions emerge. I am no longer in the driver's seat. I am simply along for the ride.
Cheryl Ann Thomas working in her Ventura, CA studio.
Photo by Donna Granata
Focus on the Masters
PORCELAIN PROCESS
My investigation in porcelain clay began with a question, "How thin and how tall can I make a column using the coiling method and what will the results be?" I found that the columns were too thin and too tall to hold their form and would collapse during the firing. I chose to limit my colors to black, white and gray.
Five years later, another question arose, "What will happen if I combine two or more fired columns and re-fire them?" I found that the forms would continue to reshape and enfold one another.
In another five years the next question arose. "What will happen if I add white to my black clay." I assumed I would get another variety of gray. Instead, I got blue. Then I wondered what other colors I could develop.
I assumed that my investigation of process would not be personal but merely academic. In hindsight, I realize the purely objective pursuit is impossible. Looking at my work as it surrounds me in the studio, I learn that I an drawn to fragility, accident or chance and reconciliation. The intuitive grows stronger as I continue my exploration.
Cheryl Ann Thomas working in her Ventura, CA studio.
Photo by W. Scott Miles
The Scientific Photographer