RAYMON ELOZUA

STATEMENT

In 2018, I decided to return to glass again in conjunction with ceramic and steel. Once more, I worked with Lorin Silverman; this time at Urban Glass in Brooklyn. In addition to blown glass, I was interested in using mirror strips similar in nature to the enamelware photographic setups. The glass was created first. I then  constructed a steel structure to suspend the glass shapes, which are removable for the kiln firings. Clay was added and the sculpture was fired for bisque the color. Metal angles were then welded at various angles as a support for two sided mirror strips, which were glued in place.

This series is entitled “Tri-Harmonic” referring to the relationship between glass, ceramic and steel, materials that all use fire and heat as an essential means in their creation.

Raymon Elozua, Tri-Harmonic B2, 2018-19, terra cotta, steel, hand blown glass and mirror, 43 x 32.5 x 52″

STATEMENT | CATALOG

In the 5th grade at Our Lady Gate of Heaven, our teacher created a contest. Pointing to an image of a state on a map of the USA, each student, standing at the back of the classroom, would have to name the capital of that state.

I studied and studied and was reasonably certain I could win. The only problem, I could not discern the shapes of the state from the back. I asked the nun to keep moving forward until I could clearly see the shapes. Soon I was literally 6 feet away. I knew every capital but I do not recall if she awarded a prize. What I do know is that she called my parents and told them I needed glasses.

Soon I received a pair of new prescription glasses for near sightedness. Already branded a “teacher’s pet, I was now immediately also called “4-eyes.” Despite the negative social implications, what mattered now was that I could see clearly for the first time. Everything was sharp, ordered and definitive. Eyesight gave me a clarity, even a harshness of vision: the line, the curve, the edge with “level” and “perpendicular” defining space and volume.

Now that my vision is diminishing with age, I remembered this event. I decided to re-create the experience of seeing out of focus. In 2010, utilizing a table top set up of old and new enamelware, I produced a series of richly colored “blurry” images that recalled my first visual experiences.

In 2016, I thought it would be interesting to take these photos, to replicate the glowing amorphous shapes in ceramic and steel. I was not successful, hence the title, “Hubris.” Eyesight and clarity prevailed.

Raymon Elozua, “H: IMF-10:”, 2016, terra cotta, whiteware, glaze, steel rod and plate, 28 x 23 x 23″

STATEMENT | CATALOG

Working in the ceramic medium, I have always been interested in the synthesis of different materials.  From 1989 through 2002, I used steel rod and wire combined with 04 terracotta in my sculptures.  The “skeleton” of the steel provided a way to utilize clay in a more spatial and gravity-defying manner.

The medium of glass is attractive but I never had an occasion to explore it.  In 2013, I met Lorin Silverman, an expert glassblower and artist.  He worked for Corning Museum as a technician helping artists to realize their vision in glass.  We researched and developed a way to blow glass into a metal armature.

Glass is perhaps the most difficult medium I have utilized.  Once the glass shapes were created, using CAD drawings I constructed a steel and wire structure, which was then covered with terra cotta and fired multiple times for color to Cone 04.  The glass forms were then independently affixed to the sculptures.

The tension between the fractured ceramic with the reflective glass is fascinating, a feeling of beauty born out of decay.

The work of R&D Sculptures 2014: Ceramic, Steel and Glass was constructed, March 2013 – May 2014.

Raymon Elozua, “R&D VII RE-17-1”, 2014, ceramic, glaze, steel & glass, 38 x 23 x 43” – currently on loan at the Corning Museum of Glass