native of Orangeburg, SC, Kathy Triplett attended the
Universidad de las Americas in Pueblo, Mexico and received
her B. A. from Agnes Scott College in Decatur, GA. Additionally,
she honed her artistic skills in courses at Arrowmont
in TN, a clay cooperative in Denver, CO, and the architecture
department at Georgia Tech.
in Mexico, Triplett developed an interest in the geometric
elements of that region's Olmec and Aztec architecture,
which led to an interest in Art Deco architecture and
design. Travels to Barcelona, Spain and an interest
in the work of Gaudi contributed to a tendency towards
more organic forms in her work. A recent trip to Mali,
in west Africa, brought the influences of the colors
of mudcloth and the shapes of the mud mosques and houses,
to her work.
what explains the sea creature and insect-like forms
in the work? Time spent every year exploring the shores
of Edisto Island, SC, where horseshoe crabs and sharks'
teeth are found in abundance, contributes to the shapes
and to the small detailed natural object additions on
the teapots and the wall pieces.
and openings from one layer into another are abiding
elements in the work, metaphors for the layers of the
self, or for the process of uncovering another wood
that lies behind this one. An interest in texture and
contrast leads Triplett to lengthy glaze testing in
order to find
new and intriguing surfaces.
she began her career as a wheelthrower, now handbuilding
with slabs and coils is the method used to manipulate
the clay. She is the author of Handbuilt Ceramics and
Handbuilt Tableware and has exhibited at NewArt Forms,
Chicago; First International Tokyo Crafts Expo, Tokyo,
Japan; The Tea Party, American Craft Museum, New York,
NY; ArkansasArt Center, Little Rock, AR, and is included
in collections from Bolivia to Japan. She is a member
of Piedmont Craftsmen, Inc., and the Southern Highland
Guild and currently serves on the board of Handmade
in Ame6ca, Asheville, NC.
lives in NC with her husband and two dogs, in a solar
house filled with handmade tiles and ceramic wall sconces,
and works in a handbuilt studio nearby.
textured surfaces of these clay tiles capture the fluidity
and skin-like nature that clay may assume before being
fired. As the surface is tom away or pushed through,
an inner world reveals itself It is a mysterious world,
of which we may only receive a glimpse, but it provides
the structure, the framework, a pulse, for the layer
above. Forms revealed, or partially revealed, originate
from the shapes of seeds, insects, animals, as well
as the mechanical, electronic world. The quiet color
palette of simple earthy hues accentuate rather than
dominate the forms. We are caught in a world where the
line is blurred between natural and man-made.
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