{"id":335,"date":"2014-03-30T10:07:00","date_gmt":"2014-03-30T07:07:00","guid":{"rendered":"https:\/\/www.meirmoheban.com\/?page_id=335"},"modified":"2019-04-30T18:35:35","modified_gmt":"2019-04-30T15:35:35","slug":"the-artists-statement","status":"publish","type":"page","link":"https:\/\/www.meirmoheban.com\/about\/the-artists-statement\/","title":{"rendered":"THE ARTIST\u2019S STATEMENT"},"content":{"rendered":"\t\t
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\"IMG_6492-1024x682\"<\/a><\/span><\/p>

In 1989, I came into contact with \u2013 touched \u2013 clay for the first time. This meeting took place in a small, local neighborhood pottery workshop in Queens, New York and my life has never been the same since. I was 30 years old at the time. Since that day, I have been playing, investigating, discovering, laughing, crying \u2013 and making love with clay. Touching this ancient\u00a0substance of infinite possibilities always reminds me that this intuitive process can keep on evolving, or perhaps it has already evolved enough.<\/span><\/p>

The pot, slowly coming into being, turns on its axis and then \u2013 suddenly \u2013 stops, transformed into a frozen image of a three dimensional object. Silence.<\/span><\/p>

I strive for the simplicity of the ceramic form, for the eternal movement existing within and around it, the flowing rhythm of the space surrounding the piece\u2019s lip, the contact of the form\u2019s base with the earth\u00a0\u2013 these are important elements of my work.<\/span><\/p>

My daily life (as well as the region where I live \u2013 Israel) is comprised of opposites \u2013 as in my work. There may be one truth, but there are many angles from which this truth may be perceived.<\/span><\/p>

I never studied the craft formally, and sometimes I sense that I could use more knowledge in this field. The independent learning, the patience, and the creative process I am constantly involved in leads me to an ever-deeper understanding of the clay, the form and \u2013 eventually- myself.<\/span><\/p>

I relate to the ceramic process through my senses and emotions \u2013 from my heart, and therefore believe in letting the piece speak for itself.<\/b><\/span><\/p>

I fire my kiln once a year, for 5-6 consecutive days.<\/b>\u00a0Throughout the year, I work on my own and with my great assistant \u2013Nomi. However, once the loading of the kiln has begun, throughout the firing and up until the moment the pieces are taken out, a collaborative group journey ensues \u2013 a journey of individuals who join me, the kiln and the firing in a process of growth and creation.\u00a0This energetic collaboration with fellow potters and friends\u00a0<\/i>never ceases to inspire me; it raises me up, gives me strength, and teaches me fascinating lessons about life<\/b>. This journey and the internal processes it entails are very important for me \u2013 sometimes even more so than the final result \u2013 the pot.<\/span><\/p>

My sources of inspiration are extremely diverse<\/b>,\u00a0but I am especially attracted by the human body, nature (of course), the number 3, and the infinite.\u00a0<\/b>I seek out the perfect in the imperfect, and in my opinion, it is often the random imperfection of a pot that gives the piece its wholeness, its own individual perfection.<\/span><\/p>

The unpredictable surface of the pot, as it emerges from the wood-firing reminds me to simply believe in the cosmic entity of Nature \u2013 the divine creation.\u00a0When I open the kiln at the end of a firing, I experience the \u201cbirth\u201d of my pots.<\/b>\u00a0I find myself excited, searching and learning \u2013 from that which can never be imitated, and accept the goodness of this new creation with love.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

In 1989, I came into contact with \u2013 touched \u2013 clay for the first time. This meeting took place in a small, local neighborhood pottery workshop in Queens, New York and my life has never been the same since. I was 30 years old at the time. Since that day, I have been playing, investigating, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":2,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"acf":[],"yoast_head":"\nTHE ARTIST\u2019S STATEMENT - Meir Moheban | Ceramics Artist<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.meirmoheban.com\/about\/the-artists-statement\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE ARTIST\u2019S STATEMENT - Meir Moheban | Ceramics Artist\" \/>\n<meta property=\"og:description\" content=\"In 1989, I came into contact with \u2013 touched \u2013 clay for the first time. 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