Eric Knoche’s ceramic vessels are abstracts of human figures, bones, algebra, houses and even machine parts. Each piece is hand-built using coils or slabs, and then wood-fired. His current work is comprised of sculpture, installation, and vessels. All of his work is meant to be experienced both visually and tactually. Much of his work is modular and can be manipulated to varying degrees by the viewer, blurring the line of creative control so that the end result is a collaboration
Eric Knoche at MudFire
Gallery group show Constructed, April 2010.
Eric Knoche Artist Bio
Eric Wolfgang Carl Knoche touched clay for the first time seven years ago and has had dirty hands ever since. Originally from Minnesota, Eric took a roundabout path to his current residence in North Carolina which included extended stops in India, Thailand, New York and California. In addition to playing with mud, he enjoys hiking, reading and checking the cloud formations for the face of Elvis. Eric can be found at the Clay Space Co-op in the Riverarts District of Asheville North Carolina.
Eric Knoche Artist Statement
My work is a humble investigation of truth. I believe that the truth of songbirds, heartache, neutron bullets, parched earth, ecstasy, love, and abandoned buildings are all the same. There are as many paths to truth as there are animals, vegetables, and minerals. My work is the physical record of my own exploration of truth. I think of myself as an anthropologist of my own experiences and a distiller of my own reality, discovering and processing my emotions and observations through my own viscera. My art flows from there into the physical objects I make.
The current work is comprised of sculpture, installation, and vessels. Pieces are based on abstractions of the human form, machine parts, landscapes, emotions, algebra and bones. Right now my own explorations focus on the abilities of simple spacial relationships and nuanced surfaces to resonate within the human spirit and reveal themselves over time. All of my work is meant to be experienced both visually and tactually. Much of my work can be manipulated to varying degrees by the final custodian resulting in a collaboration between us. The most manipulatable are somewhere between a puzzle, a Rorschach test and a party game.
The forms are constructed primarily from clay using a variety of hand building methods. I usually do not work from sketches or maquettes, preferring to collaborate with the materials and guide the forms until they feel right. In a similar way, the wood fired surfaces which patina my work are the result of a dynamic interaction between the materials, forms, placement in the kiln, and firing technique.
It is my hope that the gratitude and wonder I have for life, energy, mystery, and art is revealed through my work.