The ceramics of Alan Willoughby and Linda Shusterman make use of symbolic imagery, in particular, the spiral and wavy line motifs. It is fitting that these two symbols that have existed in art and communication for over 2000 years, are a part of their vocabulary (the spiral signifying renewal, reinvention, evolution and the river signifying meandering, forward moving, ebb and flow). As Linda states, “The carving seen in the art and architecture of the Mayan ruins inspires repetition of spiral shapes. This spiral is a theme ever present in my work and represents the spiraling of life and how it is constantly moving”.
The separate ways Linda and Alan use these symbols are indications of the similarities and differences that have allowed them to move so freely in and out of their collaborations through their 30 years of partnership. Linda employs these motifs decoratively with delicate slips and sgraffito. Alan loves the tactile and physical properties of clay; he creates solid, thick, three- dimensional spirals used as handles or applications. This symbolism in their work is a metaphor for their lives, for the evolution of their creative and collaborative involvement over the years.
Alan’s Artist Statement-2016
I am drawn to clay because of its tactile and physical properties. It is a welcome respite from our early 21st century world of mechanization and super technologies. When I work in clay, when I work with the primal elements of earth, air, water, and fire, there is a connection to something deeper and stronger, more primal. On days when I enter my studio, I leave behind the violence, the pollution, the global warming, and the consumption propagated by our modern-day icons and begin a quest to understand the deeper meanings in life, the connections to all things. In this journey I seek a balance between the idea and the function, and enter into a creative dialogue with the stars, the wind, the mountains, the trees and all living things.
These pots are fired in a wood kiln. Firing with wood is a purifying ritual. It is the “trial by fire” of ancient myths, a process engaging full thought and sense, a collaborative effort between man and fire…. feeding wood to the fire, the flame licks a pattern across a brushed slip decoration and ash falls upon the shoulder of a pot with glaze turning copper green as heat irreversibly transforms clay and minerals…. And to open the kiln door several days after the pots have cooled and we have rested, are moments filled with intense anticipation and excitement.
I have always loved function. How things look and how they work. This series of pots were created to be enjoyed and used. It is with use that their life is renewed. And when they are used, as clay pots were being used hundreds and thousands of years ago, let us, the maker and the user, remember our connection to these other times, to these other peoples, and have reverence for this miracle which is life!
Linda’s Artist Statement-2016
This current series of vessel forms have evolved through my exploration in clay of form and surface decoration. The porcelain wheel-thrown forms provide a three-dimensional surface for my study and use of color, pattern and composition. In my work I pay homage to the functional roots of ceramics while elaborating on historical and decorative elements. The interaction of the ceramic forms, whether as a vessel or wall platter, is as important as the surface, texture, color and patterning. Travels to the Caribbean, Costa Rica, the Mayan Ruins in the Yucatan, Southern Spain, Barcelona, and Oaxaca, Mexico have influenced my work. The seascapes and lush vegetation of the Caribbean in the Yucatan and Jamaica are seen in my “caribe”series with the use of bold leaf patterns floating in a rich bermuda green and lavender. The carving seen in the art and architecture of the Mayan Ruins inspires repetition of spiral shapes. This spiral is a theme ever present in my work and represents the spiraling of life and how it is constantly moving.
My recent study of form and surface decoration is seen through the use of wood-salt-firing techniques in the Noborigama kiln. The pattern and colors are more subtle due to the firing process. The results are varied and not predictable due to the firing process. My work is formed on the potter’s wheel, painted with slips and terrasiggillata, incised, and slip-trailed.