Christine Ruby
MFA Thesis, Installation View. Lamella I and Lamella IILamella ILamella IILamella II.bLamella II.cLamella II.dLamella II.d
(alternate view)OrogenesisPetrified Forest IIPetrified Forest II, detailPetrified Forest II, detailStrings AttachedStrings Attached, detailPetrified ForestChinese Finger TrapRuptured TriptychHoley TriptychAftermathAftermath, alternate viewAftermath, detailPitted PyramidPitted Pyramid, detailSuspensionSuspension, detailVoronoi IIVoronoi II, detailVoronoi IVoronoi I, detailVoronoi I, detail
I am intrigued by the infinite relationships of positive and negative space, light, and shadow caused by the environment. Whether inanimate or living, each element has a relationship and an interactive dialogue with everything in its surroundings. This spatial dialogue is an important aspect of my work. Everything involving a work and the viewer’s experience is relative to environment. Spatial environment determines the outcome, viewer’s experience, formal qualities, and aesthetics of the work. Clay has a memory, and its particles record every element of its history. Each ingredient determines an outcome, and likewise each manipulation of its surface. Pushing the material beyond its physical boundaries compromises its structural integrity. My goal is to push the material as far as possible without overstepping these boundaries. Holes serve as portals, opening windows of conversation between the interior and exterior spaces, letting through light, and creating shadow. Based in botanical microscopy, my imagery originates from a vocabulary that I have developed over time. My current work derives from this vocabulary.