Most of my clay works are objects that refer to function. Their strength derives from their being rough, gestured, split, and impure. I deliberately include “mistakes”—cracks, stones, splits, glaze flaws and warping—that are planned accidents. By pushing my materials beyond their physical limits in the firing I cause the object to split. The subsequent repair ascribes an importance to the object that is not overtly stated, thereby instantly transforming an everyday artifact into an heirloom. Other objects I deform in the making, causing deliberate variations in an almost flawless form... I use imperfection as a device to push the viewer to consider the difference between perfection and beauty...
There are many influences that have affected my work. Neolithic pottery, Medieval Japanese pottery and firing techniques, Rhenish pottery, the steel sculpture of Anthony Caro and Richard Serra, the ceramic work of John Mason and Lucy Rie, Polynesian wood carving and the stone sculpture of Isamu Noguchi have all played a part in my development. I want my work to function throughout this broad sweep of history.
Paul Chaleff's full statement is available via his Hofstra University faculty profile.
