Rose B. Simpson

and then wait for an answer.

And I think we have so consistently built the muscle inside of ourselves of prioritizing a human interaction that we've stopped understanding and believing that we can be in a communication with that, which is beyond human, right?

And so I make anthropomorphized vessels in ceramics so that it's a bridge, because humans really like to talk to other humans and have interactions with those.

And if we can see an anthropomorphized face and start feeling and listening, then we can begin building that muscle of communication with that which we have deemed inanimate.

Yeah.

When I make my figurative work, I don't always include things that I don't think are necessarily important, like arms or hair.

But they do have...

the senses, so they have ears, nose, mouth, eyes, because I want them to have what they need to soak in the world around them and to create a relationship with that.

And that we see that in that, we will also build a relationship understanding that they are sensing us.

Right?

And so that is why I choose to do that.

And, you know, when I cut the eyes into the clay the first time, I always say, hello, welcome.

Totally.

For instance, when I'm doing a public art piece, I have to go to the place, I have to sit there, and I ask.

And I wait for an answer.

I say, what needs to be here?

What needs to be told?

What story needs to be manifested here to make change?

And how can I be of service?

And then I wait and I listen, and it comes.