Luna Peláez
Over the course of the last five years, at the University of Oregon’s Millrace ceramics studio, so nicely tucked away from the rest of campus’ hustle and bustle. I found my curiosity to be constantly triggered and nurtured. Gaining and exchanging knowledge about the field of ceramics, not bound to only professors and faculty, furthermore including my peers and personal experiences. Continuously pondering new questions.. finding new niches and techniques, gaining new knowledge and perspectives about theories, and methods of making. Not only within the medium of ceramics, but— in addition to the broader context of the Arts. Furthermore in cohesion with higher academia— both in terms of historical context and notions, as well as that of our contemporary context.
The work I present as my terminal thesis project, is a physical culmination of a multitude of differing and open ended-inquiries. Of which, presented themselves as my interest, practice, and work developed throughout the progression of my terminal year as a candidate in the BFA program at the University of Oregon.
Furthermore, the project I presented was a manifestation of my relationship to the medium of ceramics. Showcasing an emphasis of the importance of the exploration of the medium within my practice of ceramics, through the implementation of experimentation within the basic and fundamental components of the medium. Not intending to reinventing the wheel, but returning to the fundamental variables to begin my inquiry— which led me uncover and solidify my interest in surface (finishing), color, and form as a root [in my praxis and] for this terminal project.
The terminal project presented is a synthesis of not only my physical attempts at understanding and exploring the perimeters and foundation that constitute my praxis, but also the theoretical concepts and notions. This investigation was fueled not only by my curious nature, but also by my personal process of navigating the areas in which art and academia meet and mingle to create not only the Cannon, but also the institution that upholds the criteria and requirements of this very program.
My inquiry end goal— being the solidification of both the theoretical component(s) of my work for this project (and praxis). Said end goal, has allowed me to understand that my studio practice, as well as my personal relationship with the medium— dictate the breathe of the work for this project and further projects to come, indicating the necessity and vitality of curiosity and experimentation (play) within my overarching praxis. This can only be nurtured and worked through fully— when allowing myself to experience the medium at its wholeness, and letting curiosity take its course. Illuminating what the work will consist of, by creating a space within my practice to mindlessly question, make and create without fears or boundaries. Just like a child does. Engaging in acts such as asking questions, breaking things, drawing all over them, mixing materials and find new material to incorporate. Or seeing how much of what I could do for how long? Both physically and mentally… Enacting methods of physical exploration with the medium— such as throwing on the wheel for hours on end, and mixing copious amounts of pigments with anything and everything. Engaging the clay and my physical-self, in a space of conversation to explore, thus experiment and create to fulfill said inquiry and curiosity.
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