--"The creation of my forms allows me to blend the instinctive subconscious with the physical exertion. Color, shapes, line and textures available in nature are constantly used in my work. My intention is to capture and present what can be seen with the understanding that it is only a partial revelation, various ceremonial objects that have been forever lost in time . . . a blending of classical form with modern contemporary expression to be seen from many points of view."--
--Ron Artman

Ron Artman’s vessels depict power. His intricate ceramic forms contain life and purpose. Forceful and intense, the immediate impact of what Artman terms his predawn attack ceremonial vessels is a sensibility of strength from all points and an achievement of grace.

Asian art and philosophies have influenced his highly altered forms. The process begins with days spent constructing the large contemporary structures using traditional hand building and wheel and slab techniques that will ultimately display the deep matte reds, oranges and yellows that have become a distinct Artman trademark. The vessels are then bisque fired to a low temperature allowing the clay body to open porous structures able to withstand the thermal shock encountered with later firings. Once the bisqued forms are sprayed with a series of glazes incorporating iron, titanium, copper, cobalt and manganese, the work is reduction fired in a gas kiln to 2100 degrees Fahrenheit until their molten sides glow with white-hot embers. The colors are purposefully mottled to give the pieces a weathered, well-worn appearance. The firing process takes the clay and glaze elements back to their earliest origins of earth. Four out of ten pieces built are lost in the creation of a Ron Artman vessel.

Bridging the primitive and futuristic, there is a sense of physical security and stability derived from Artman’s work. Though respectful of its historic origins, Artman’s contemporary pottery is different in a number of ways: it is bolder and more aggressive in form and richly flamboyant in scale.

In 1988, Artman sold his graphics and screen-printing business in Washington, DC and moved to Australia. He spent the next 3 years studying art at the Tafe School in Alice Springs and studying ceramics under various Australian masters. While there, Artman was in several shows in addition to many regional and national invitational and juried exhibitions, where he won several 1st place awards. His prize-winning vessels were acquired by the Araluen Art Center in Alice Springs. His work was a critical success and attracted considerable attention in art circles. The Araluen Sculpture Garden is also home to Artman’s 7-foot tall storage vessel. Many corporate and private collections throughout Australia, New Zealand, and England house Ron Artman’s work.

Time spent in Malaysia, Singapore, Hong Kong, Taiwan, Borneo, Vietnam, and the Middle East heavily influences Artman’s work. Today he enjoys the peace and solitude of the Lower Eastern Shore of Maryland.

The ex-Marine’s forms have a sense of dynamic tension with a feeling of pressure from within. Bulging with mature life, some vessels have decorative Chinese war axes, Arabian blades, or African spear heads attached during the leather hardening stage. Artman’s work spans many cultures in a generous collective spirit that holds and honors the timeless experience of the warrior.

Using various representations of steel cables, metal straps and rope shaped from clay, the rough, rust-like colors give the ceremonial vessels an ageless quality that has withstood the centuries. A rugged texture resulting from deep incising and carving give the forms motion and energy.

The function is often very clear though not understood. The work presents many unanswered questions and challenges the viewer to find literal interpretations through their own experiences within his abstract design.

Creating such large yet graceful forms requires strength, creative stamina, great skill, and years of experience. An attitude of taking risks is essential.