Ancient Life Symbols – Eric Nelson – React. Research. Execute!

Research Project conducted by Dillon Jacobson & Quinn Merklin

The mosaic style tiles were forged in wood-fire ceramic fashion. These are some of his earliest professional works, being only 21 years old at the time of production. These works were produced the same year that he traveled to Japan under the sponsorship of American sculptor Isamu Noguchi. According to the plaque next to the tiles, they represent Nelsen’s belief that “symbols provide a visual representation of the human journey”. The motifs are derived from a diverse range of religious and cultural icons

Eric Nelsen, is an artist from Vashon Island, and the son of the notable architect Ibsen Nelsen. In 1975, he was invited to Japan under the sponsorship of American sculptor Isamu Noguchi, and Introduced by Noguchi to Bizen potter Kaneshige Michiaki. He returned to America in 1976 to create the first anagama style kiln in the US, and established a studio in Seattle 1978. In 1979-80 he returned to Japan to work and study, and traveled around Asia extensively to study ancient styles and sites. Since 1985 he has maintained a studio and anagama kiln on Vashon Island, Washington, where he makes elaborate, largely hand-built sculpture, often in a narrative, figurative style.

He is known for the following works, which are ceramic art pieces: The Merchant of Vessels, 2012-2015; Multiple Madonna Meditation, 2009; Phallus Chalice, 2014; Traveler #27, ;Caravans of Connoisseurs: objects of my affection series, 2002; Viridescence Series: Six Unglazed Geo Horses With Pilgrim Flasks and Haniwa House, 2007

This art was produced in the contemporary art period after his time at Pottery Northwest and apprenticeship time in Japan. The time at Pottery Northwest most likely caused him to further his experience with wood-fired clay, and his time in Japan most likely influenced the decision to create a religious/cultural based art piece. He incorporated elements of the Bizen pottery style that he learned in Japan by leaving natural imperfections caused by the kiln firing process, resulting in a cracked, worn appearance.

Nelsen juxtaposes the earthen, organic, imperfect style inherent of a wood-fired kiln with bright geometric mosaic pieces. He combines the styles of Bizen pottery style with it’s imperfect aspects to normal clay so that he could also incorporate glazing into his sculpture.

Nelson has an intriguing statement regarding his art piece the “Caravans of Connoisseurs: objects of my affection series”; The new work is an absolute contradiction; it is articulated and fashioned and designed to a very high level of control and tolerance. Then it is subjected to this absolute volcano of fire. It is as though these things have been buried for 1000 years and only now dug up. It is like a microcosm of geologic time encrusted in these layers of detritus. These are not highly pristine objects; they have been through something quite extreme. Only certain materials are able to withstand the experience of the anagama kiln. Clay is about the unadulterated refractory qualities of earth: it will melt only at the point where earth melts. Those temperatures are unavailable to people.