White renders rich textures in the pieces such as grain lines and bark using acrylic paint to articulate details such as moss and dirt in his surreal sculptures. Perhaps one of the most striking aspects of White’s talent is the diligently sculpted smaller details of the pieces. Micro-sized versions of objects such as brick walls and books are formed with impressive detail. White continues this aesthetic in his functional ware, making ceramic kettles and cups that look like something out of a J.R.R. Tolkien novel.Here's a preview of some new work I've been consumed by recently. It's a small departure from my previous work, which was almost entirely modeled from clay. This piece incorporates various materials other than ceramics, including live moss and actual wood (yes, actual wood!). There are more images in my portfolio of this work, and I will be adding new images of this piece as soon as I can arrange time for photos. Hope you enjoy it. Also, I've been tossing around the idea of enabling comments on my site to hear your feedback. via_http://hifructose.com/2014/03/06/christopher-david-whites-ceramic-sculptures-mimic-wood-and-other-textures/?utm_source=feedly&utm_reader=feedly&utm_medium=rss&utm_campaign=christopher-david-whites-ceramic-sculptures-mimic-wood-and-other-textures
That nothing is static or fixed, that all is fleeting and impermanent, is the first mark of existence. It is the ordinary state of affairs. Everything is in process. Everything– every tree, every blade of grass, all the animals, insects, human beings, buildings, the animate and the inanimate—is always changing, moment to moment.
With nature undergoing a perpetual transformation, everything derived from nature is subject to the same repetitive cycle of growth and decay—of life and death. Change is a constant reminder that permanence is the ultimate illusion. It is through the creation of hyper-realistic sculpture that I explore the relationship between nature, man, and the phenomenon of impermanence. I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them. To accomplish this, I begin by observing instances of decay within my surroundings that I find inspiring due to form, color, or texture. With clay as my medium of choice I then meticulously render by hand those elements, taking advantage of clay’s innate ability to mimic a wide variety of materials. I utilize trompe l’oeil as a stylistic choice to emphasize the concept that our understanding of the world is an illusion. The juxtaposition of natural and man-made features in combination with the skewing of scale, proportion, and material, helps in creating an altered perception – forcing the viewer to look closer.
There is a peace that can be found in even the simplest things. Ordinary elements within our environments offer both visual and physical reminders of our connection with nature. I am inspired by the small, overlooked aspects of our environment, finding enjoyment in the unexpected discoveries that come from simply being observant of the minutia and incorporating those mundane forms into my work. Crumbling Brick, rusting metal, and rotting wood become sources of inspiration. In my observations I also see similarities between the processes that occur in nature and those that drive us. By combining both man-made and natural elements within my work I hope to highlight the fact that we are not separate from nature but are, in fact, part of it.
