In this quest for these ceramic installations, my work has taken me on a lovingly, but labor-intensive journey of trial and error, failure and then ultimate success. I consider the works I create for an audience to be visual solutions to the challenges I set in my art practice. I believe one of the challenges of making long-term installation works require a type of honesty and dedication within myself. For example, one of my solo exhibitions, Drift, required ten months of work from it’s conception to exhibition. I was able to commit to such a work because of the type of grounding and foundation I set in my practice. This draws on being self-critical with the things I was most fearful about as an artist and person. I allow myself to consciously live with these fears in order to better understand the physical spaces I am creating for an audience. I have to accept my own vulnerability. I experiment, play, and create objects in order to offer the chance of an experience. I work to expand my visual vocabulary while examining my existing vocabulary.
Outside of my personal studio time and practice I have actively participated in a larger art community. Setting forth a different type of dedication, I am committed to championing the ceramic arts and its possible impacts on individuals. In addition to teaching and volunteering, I have hosted and co-hosted ceramic making events to get clay into as many people’s hands as possible. I have an endless passion for ceramic arts. I believe ceramic art is perhaps one of the most diverse mediums a person can be exposed to. It is a hands-on opportunity being both physically and conceptually engaging. Clay’s tactile quality is easy to relate to. It’s three-dimensional medium records one’s movements, one can see potential immediately. Clay goes through a firing process where there is an opportunity for realization that one’s intelligence and intentions do have a place in society. It is a visual reminder of creativity and possibilities.
— Heather Cruce