Artist Brian Peters presents a collection of 3D printed ceramics fabricated into rhythmic and textural constructions. Visit his website to see more of his work.
My passion lies at the intersection of craft and technology, and my work explores patterns, textures, and forms that show evidence of both the artist’s hand and the marks of the tools used.
And while my work primarily relies on 3D printing ceramics, I am not interested in the perfection of machine-made objects, but rather the art of integrating digital coding, custom-built technology, contemporary aesthetics and natural clay.
This mix of technology and craftsmanship is the genesis of my creative process, while nature and architecture are the primary sources of inspiration for the intricate infill geometries and unique surface textures that distinguish my work.
After a BA in Studio Art and subsequent Masters in Architecture, my passion for ceramics was reignited during a residency at the European Ceramic Workcentre in Oisterwijk, The Netherlands. Living and working alongside ceramic artists from around the world and beginning early experiments in integrating digital fabrication into traditional ceramic processes, was transformative.
The ideas I developed at this time related to ornamentation, pattern, rhythm, and texture continue to influence my work today.
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What I have developed over the past eight years working in this medium, is a deep understanding of the relationship between the tools I use and the forms I make. For me, building the machines I use to fabricate my work is an integral part of the process.
Through continual experimentation, I have pushed the limits of what the tools were capable of, while also developing a greater understanding of clay.
What is not always understood is that the printing of clay is only a small fraction of the fabrication process of my work. Once printed, each piece is refined by hand, then carefully air dried, kiln fired, glazed by hand (if applicable), and then kiln fired again. This makes my work closely tied to the tradition of ceramics, even while exploring the affordances of digital fabrication.
I am grateful for the multiple ceramists who have given me advice about clay bodies, glazing, firing, etc. that has helped me develop my craft.
I am fortunate to have been invited to exhibit work around the world, including at the Museum of Craft and Design in San Francisco and the New Taipei City Yingge Ceramics Museum in Taiwan. I have also completed a number of commissioned projects, including one funded by the National Endowment of the Arts and one in progress for the Carnegie Museum of Art. My work in 3D printed ceramics is widely publicized and has received several prestigious awards.
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