Perry Haas Biography
Perry Haas has been working in ceramics since 2003. He holds a BFA in ceramics from Utah State University. Ceramics has taken him to China where he studied at JCI, and Korea where he stayed and studied with ceramic artist Hung Chung Lee. Perry’s work has been in numerous exhibitions, most recently at Crimson Laurel Gallery, North Carolina and Lillstreet Gallery, Chicago Illinois. He has been in international shows including ICMEA emerging artist in China, and has received a purchase award from NCECA Beinali. Most recently Perry was honored the Young Wood Fire Artist award at the European Wood Fire Conference, during his residency at Guldagergaard International Ceramic Research Center. Currently he is a Long Term Resident at Red Lodge Clay Center.
Perry Haas Description
I fire my work between come 9 and cone 12 typically.
Perry Haas Statement
I have developed my forms by the influence of human shapes and inspiration of the nature that surrounds me. Both function and form is deeply considered while choosing to fire my work in an atmospheric wood firing process. The firing method of wood kilns has captured my interest because of its ability to record the symbolic elements of the fire and clay relationship. A minimalist approach to the glazing process allows the ware to form a reflection of textured skin, a combination between humanity and the movement of the landscape.
My work has been greatly affected by my examination of this process, now allowing the mark of the rib to present itself in a more natural stroke as well as letting the form go off centre and become unbalanced. I concentrate on many common pottery forms, but have an historical approach to them. Having studied in Korea and China my background knowledge of the Asian tradition is evident in my work. Teapots, tea ware and how they hold such a strong relationship and ceremony between the pot and the user have become a passion for me.
My current work is focused on how to express pressure and force. I have been concentrating on large-scale platters that are expressing movement horizontally across the surface, allowing for cracks and fissures to occur. This comes from a geological approach in my inspiration, resembling folds in the earth’s crust, to the thrusts of pressure coming from within the earth. This series is mainly firebox driven, allowing the embers to cover the platters in different temperature ranges and producing varied natural clay colours. Placing work in the firebox comes with being able to physically let go, allowing the kiln to take control of the final result. Unpredictability in successful outcomes is the nature of this process, along with knowing that it has a higher risk of failure. It is a game of chance and time that I enjoy.