There is a body of tabletop sculpture that has been slowly evolving over the past 5 years. It’s growing out of reflection on a kind of shared history, our experience of the past but also our inherently individual experience our myriad presents – with a lens tuned to the impenetrable skrim which separates my experience from yours. It is not nostalgic, but it is looking at time and experience, and questioning both how we got here, and how I got here.
On the other side of my studio, the digital ceramic work is looking how tools hacked and developed through maker communities, and broadly documented online, can be utilized in new ways by ceramic artists. It’s taken the work of thousands to unpack CNC and 3d printing technologies in a way that they can be utilized anyone willing to pull a little hair out. It’s about access, and cost, and it is all shifting so fast. I am laboring to develop my own tools, and create my own art with this new set of tools while simultaneously encouraging and promoting the development of new ways of thinking about what it might mean to be a ceramic artist or even a potter in a digital landscape.
— Keith Simpson