ARTIST

Dawn Renee currently resides in Arizona. She is a graduate of the School of the Art Institute of Chicago. Her Raku sculptural works are created by assembling many pieces to create one. This pattern of design is further explored through her botanical subject matter, by fusing what is found in nature with form in clay. She utilizes the post-reduction firing technique as a way of pushing the spectrum of color within her glaze work, often experimenting with formulas created by renowned Raku artists of the 1960's & 70's, Reigger, Leach, etc.

"I feel my work crosses between 2- and 3-dimensional lines, inviting the viewer to become active with the work, examining what is often seen in nature but seldom touched. The work I produce is Raku, which comes alive when pushed to extreme conditions. It is a symbiotic relationship between earth, fire and air. My approach to my work is best understood by translating the Japanese verb Haiken Suru - "to look at" something, not just with an intellectual eye, but also with an intuitive sense.

"I begin working with a course clay body which I manipulate by rolling, hand-building or throwing on the wheel. Working from sketches, I create the many pieces that will become the one sculpture. Often I use botanical imprints in my work, sometimes they are left in the clay to burn out in the fire, and otherwise I impress in the clay a desired design and leave the work to dry. Using various application techniques, the work is glazed. Raku firing technique is unique, as the work is not initially bisque fired, it is only fired once and the temperature is met rapidly. The kiln is loaded and brought to a temperature on average of 1800 degrees Fahrenheit, it is then opened and I remove the work with tongs. The work is then placed into reduction bins with sawdust, paper or other combustible materials and allowed to burn for a bit, and then the bins are closed air tight, allowing the work to go through the reduction process. This process allows the glazes to reach all the colors within their spectrum as well as the unglazed body to absorb the carbon and become black - the Raku signature. Later, I return to empty the bins and clean the work. The pieces are then laid out and assembled.