My most current interpretations (over the last 7 years) have its foundations in architectural analogies with cross-visual references from Shinto shrines to Indian adobes to Mayan temples ( not site specific).  These forms are an extension of my past vessel-making interests. 

In many ways architecture is the most generic, fundamental from of a vessel.  It holds not only the   physical, but also the spiritual embodiment of humankind.  Ritual and ceremony are major components of ancient architecture -- also a strong component in my works.

As I look back over this body of   achievements, I find that the ideas metamorphosed from the earlier exterior expressions to presently the internal impressions .  The newest pieces have a stronger quality of an altar/icon imagery -- impressions  found inside of the architectures.  This  transformation developed unconsciously only in the past few years.  And each new piece is now consciously projecting symbols and iconography on a multicultural level. 

Lekana's Temple is an example that provides allusions to African, Asian, and Maori (New Zealand) native influences.  With a multi-ethnic diversity here in California, my artistic development simply reflects my thoughts, my  environment, and my travels in this cultural continuum.

The hand-built plates provide another format to carry out my two dimensional ideas.  Their sources stem from primitive traditions in rock art and  wood  carvings.  In archaic times, certain stones retain and evoke magic.  As a result, my Fetish Plate series are of mixed-media approach, utilizing polished stones and fossils as a part of the magical powers imagery.

The Shard Plates series were derived  from my fascination of the American Southwest with its Native American culture.  Pottery shards can be easily found along hiking trails, providing fascinating details of artistry.  These wonderful patterns are  now part of the images of each shard on the plates.  The plates are intentionally broken, designed, fired, and finally reassembled with glue -- somewhat like a pattern on a cloth quilt.

And finally, the Shard T-Pot series is much similar to the concept and technical approach to the shard plate  series.  The original idea for this series basically evolved from ancient Persian water pitchers with their long, attenuated spouts.   To provide a contemporary quality to its surface, as well as an ancient  artifact quality, I combined the bright colors with its fragmented surfaces to hopefully achieve this imagery.

On the technical side, all shards are glazed with a unique pattern and color combination, and then set  aside for specific firing formats, i.e., electric kiln, raku, sawdust, low-temperature, and/or sawdust.

Patrick Shia Crab