Emily Comstock

Looking at the openings, lobes, and varied tools enclosed within my body of work, I hope my viewer thinks about orifices and which orifices they’ve been craving. While making, I try to center the intersubjective field – the space where the phenomenological experience and cognition of two or more entities overlap, where the distinctions between us dissolve even if only for a moment. I come to intersubjectivity as an objective for all the wrong reasons: a means of getting my rocks off, an ill-selected tool to escape intrusive thoughts, a notion of meaning-making to justify endless solitary studio time… Lots of ceramic art is oriented toward experiencing intimacy with the viewer and I’d like to think my work points the finger at something inherently deviant or kinky about this near-universal desire of the potter. If this desire can be actuated, though, there is a real sweetness to that weird and fleshy intermingling. I spend my time sketching forms that require some kind of permeability and devotion to digest, or at least tickle those buttons in your gut. I’ve come to heavily rely on the rhythms of pinching as construction method to ground my desperation and gently climb into reciprocity when possible. So much of my process comes out of a real floundering in the midst of ceaseless duplication of images and slippage from meaningful symbolic exchange. I just hope my work is as Faithful as it is Perverse.
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