The Return of the Graphic Narrative

Three Photos of the same plate.

Top: Using an old plate I made a to mask off the bottom of the piece for spray application of the glaze. The unglazed square is where the plate rests on the kiln shelf during firing.
Middle: Front with cobalt oxide graphics.
Bottom: Back with the outer edge glazed. The pale yellow color is a Celadon glaze which turns pale blue/green during the firing process.

The Plate that Defines a Generation

Ok, so maybe not you say, but look twice. This work does touch upon a myriad of topics that are relevant most everyone, especially to those 15-30 somethings out there. Justifiable use of force as means to an 'end', human destruction of the natural environment, and commercial interests vs. the rights of the individual (and family unit) are among the thoughts I've been wanting to explore in my work for quite some time. I'm very much enjoying using the square plate as format to craft more thought provoking narrative content as well as new graphic aesthetic. My love of graffiti and urban art has been more and more obvious in every series that I make, and this is no exception.

Act One, Front of the Plate: The narrative on this piece begins with the capture of an unassuming and harmless jellyfish. The family of jellyfish looks to retaliate with pistols and hand grenades (we're assuming the weapons are water-proof).

Act Two, Back of the Plate:
What you can't see (underneath the glaze layer on the back of the bottom photo) is that the jellyfish have sunk the fishing boat and are blissfully re-united. The two fisherman from the capsized vessel are f*cked, respectfully, floating in a little dingy on the open ocean (visible in the top photo).

So what's the message? Live and let live? Maybe. I prefer, "Don't start nothin', won't be nothin."