ASHEN records Gates’s reflections on the pyrogenic through the tenacity and metamorphosis of clay when transformed by flame. The presentation features glazed stoneware fired in a traditional Japanese anagama wood-burning kiln. The calefaction causes accumulations of ash and kiln particulate to build up on the surfaces of the works, exposing the nature and order of the alchemical processes. These material transmutations result from extreme heat maintained over extended time, with labor-intensive firings lasting from four to seven days.
Sculpture is a vital component of Gates’s multifaceted practice, which also encompasses architectural intervention, performance, and the preservation and redeployment of collections and archives, with principles of cultural recovery and artistic interrogation at their core. The ceramic vessel has been important to Gates since he studied pottery with masters including Koichi Ohara in Tokoname, Japan, early in his career.
Pushing the physical limits of clay while he explores histories of making, Gates has conceived an array of ceramic forms, such as tea bowls and water storage jars, along with larger vessels. He is called to a material legacy that extends from anonymous potters throughout history to modernist practitioners such as Michael Cardew, Shōji Hamada, Bernard Leach, Lucie Rie, and Peter Voulkos. A particular touchstone is David Drake, known as Dave the Potter, who incised poems into ceramic jugs and plantation storage pots while enslaved in Edgefield, South Carolina. Drawing on worldwide cultural traditions, Gates endows ceramic vessels with transcendent meaning derived from cycles of creative labor and experimentation. His transformative use of the flame links these works to his tar paintings, which honor his father’s craft as a roofer. A new large-scale tar painting will also be featured in the exhibition.