I make imaginary spaces.
I have always lived in a world of day dream, perceiving reality through a series of filters. Creating objects allows the imaginary to become tangible. I am able to show to others the language I have created, through which I engage in the world around me. In my objects, I have turned movement and fluidity into stone and stillness. Fragments come together to create something like an artifact.
Childish curiosity,
joy,
and deception.
I love surprises the way I love bubbles and heartbreak.
My current body of work functions as an exploration of intimacy and connection; meditating on the power of touch.
I have always lived in a world of day dream, perceiving reality through a series of filters. Creating objects allows the imaginary to become tangible. I am able to show to others the language I have created, through which I engage in the world around me. In my objects, I have turned movement and fluidity into stone and stillness. Fragments come together to create something like an artifact.
Childish curiosity,
joy,
and deception.
I love surprises the way I love bubbles and heartbreak.
My current body of work functions as an exploration of intimacy and connection; meditating on the power of touch.
artist statement
Woodfiring is an homage to the unpredictable, the primal, and the beautifully imperfect. Driven by the pursuit of form, I craft vessels that search for the expressive potential of clay. Methodical caresses paired with guttural and instinctive decisions build gravity-defying shapes that speak to containment and openness. The fired surface tells a story of wood ash, time, and material transformation- an homage to geologic processes that form this material. The material lives cyclically- movement and fluidity turn into stone and stillness over and over again. Engaging with local geology sets my practice in space and time; wild clays and hyper-local "studio-geology," such as fired wads, soda kiln residue, and ceramic sherds, are processed into the work with hopes of imperfections and cracks revealing themselves in the kiln.
This making methodology and firing process leans into dialectical relationships of emotional and empirical research- control and vulnerability. Clay bodies are systematically developed and tested for color, surface quality, workability, and strength. Understanding material and process on a deeply technical level opens the door for transcendental experience where gut and intuition exercise authority.
This making methodology and firing process leans into dialectical relationships of emotional and empirical research- control and vulnerability. Clay bodies are systematically developed and tested for color, surface quality, workability, and strength. Understanding material and process on a deeply technical level opens the door for transcendental experience where gut and intuition exercise authority.
about the artist
Kayla Noble is a second generation potter, born and raised in New York's Hudson Valley. She received her BFA in Ceramics from the State University of New York at New Paltz. She has completed a one year residency at Taos Clay (2016-2017) and is the current Woodfire Artist in Residence at The Clay Studio of Missoula, where she manages the firings of the 700 cu ft anagama. She enjoys exploring the potential of clay in atmospheric conditions and the possibility for conversations that can happen with an ember-bed. While not in the the studio Kayla enjoys spending time outside splitting wood and admiring rocks.
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Missoula, MT
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