Recurrence, Erin Jones

Erin Jones’s ceramic installation is a striking example of design as a dialogue among a community of visual elements in a shared space. Recurrence consists of 200 small ceramic forms (4 x 3 1/2 x 3 1/2 inches [10.2 x 8.9 x 8.9 cm]) installed in a rectangular configuration on a gallery wall. Each is made from the same cylindrical mold. This repetition of form, plus the fact that the forms are installed in horizontal and vertical rows of equal spacing, effectively unifies the design. Jones creates variety and tension by manipulating the tops of the forms, creating a wide range of permutations. She pinched some, pressed others, and cut the majority down the sides, so she could twist, fold, and rejoin those portions into a rich variety of new forms. This diversity creates an interesting series of relationships, enhanced by the rhythmic pattern of dark shapes inside the forms. The shadows the pieces cast on the wall create new shapes that echo the forms, lending additional vibration to the individual notes. The result is a visual symphony organized according to repetition of motif.

In addition to its primary purpose of experimenting with form, Jones’s design has an emotive purpose. Her interesting choices regarding color support it. Notice that the palette in her design is limited to pastel variations of the three primary colors. They’re very pleasing, gentle colors, often associated with femininity, making them ironically at odds with the very masculine, monumental feel of the large installation format. Consider how the impact of the design would be different if it had been executed in black and white, or how the dialogue among the elements would be affected if Jones had used a full range of pure, saturated color instead.