Residue, remnants, remainders, byproducts, castoffs, cutoffs, discards, edits, fragments; these aspects and fractions accumulate—sometimes purposefully, sometimes inadvertently—through our processes of making artwork. Are they inherently less valuable or worthy than the objects that occupy the central focus of our making? Or do these crumbs, loops, lumps, piles and shards contribute additional meaning that bolsters the prioritized work? Do they complete the prioritized work? Can the residue become the prioritized work?

For these Holding Patterns, slabs are stretched, cut into parts, and constructed into shelves. The remnants from each slab--material typically discarded or recycled--is reattached with glaze and displayed prominently. In essence, the function of each shelf is to hold and present its own discarded parts. Each shelf explores a different type of holding pattern, whether technical, physical, geographical or psychological.

The porcelain mind map, Thoughts on Holding Patterns, reveals the project’s underlying conceptual and emotional development.

The creation of this work was generously sponsored by Ash Street Project.