Auguste Elder

Though I am primarily a wood-firing ceramist, which keeps me fairly planted in the ground, intaglio provides a springboard for gaining a bird’s eye view on where to go. The tangle of lines and accidental topographies lend my sculptural works some direction without overly constraining their ontogenesis. Most of the drypoint images begin with rather literal, empirical descriptions of things and places, but soon devolve into map-like conflations of detours, dead ends, and stalls. They exist in their own right, but behind the scenes liberate my gestural approach to ceramics and sculpture.

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