The dichotomy between silly and serious is a hallmark of Foerster's practice, as is a tongue-in-cheek approach that pokes fun at the very trappings of art. SanAntonio SATX SanAntonioTX VisualArt SanAntonioArts
For the exhibition"Every Time We Say Goodbye," Foerster pit-fired his ceramic Floops.It's been a process. For a long time, I've been thinking about pricing and selling. That's a huge part of any art practice, really. But I feel that in ceramics, it's really pushed to make work that sells, make functional, utilitarian objects and to get into the art markets, art fairs, put up booths, sell stuff, make stuff, production — all that stuff.
In your artist statement, you mention grief and traumatic experiences, but your work feels very playful and exuberant. What can you share about that dichotomy? A lot of the work that I make is a reaction or response to those kinds of events that happen in my life. Without sharing too much, it really talks about feelings of abandonment. ... There was a lot of death that happened in my life up to this point. Through this work, I've tried to address those things by poking fun at things. I've always been a class clown. So that's kind of a way that I cope with stuff is to just make jokes.
Does your decision to not fire work and let it sort of return to the earth relate to what you're trying to convey? Absolutely. So, I had a show at Brick in December where I really wanted to play with those ideas. I wanted to let go of that shiny-new-toy kind of look that a lot of my work had before. So, I left it super-marked with my own fingerprints. There were no smiles involved in the work — except for the work I gave away. I [was] maybe thinking more realistically about the relationships that I've had, and the things I've gone through.
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