Also Known as: Donald Wayne Higby
Colorado Springs, Colorado 1943
- Alfred Station, New York
Luce Artist Quote
“Landscape imagery . . . provides a way to escape the bonds of reality . . . I am able to stand on the mesa and experience myself as in a dream.” Artist quoted by Kauffman Gallery, April-May 1989
Born in Colorado Springs, Wayne Higby received a B.F.A. degree in 1966 from the University of Colorado in Boulder and an M.F.A. degree in 1968 from the University of Michigan. He received fellowships from the National Endowment for the Arts in 1973, 1977, and 1988, and from the New York Foundation for the Arts in 1985 and 1989. In 1992 Higby was named an honorary professor by the Hubei Academy of Arts, Wuhan, People's Republic of China. He has served on the faculities of the University of Nebraska and the Rhode Island School of Design and currently teaches at the New York State College of Ceramics at Alfred University.
Since the early 1970's, Higby has explored the fusion of form and surface decoration through panoramic western vistas depicted on the surfaces of his earthenware bowls and covered boxes. These scenic embellishments are imaginative reinterpretaions of the austere Colorado landscape of his childhood. Covering the concave interior as well as the convex exterior of the object, the two-dimensional, illusionary image completely penetrates the three-dimensional form, unifying surface and shape.
Kenneth R. Trapp and Howard Risatti Skilled Work: American Craft in the Renwick Gallery (Washington, D.C.: National Museum of American Art with the Smithsonian Institution Press, 1998)
Since the early 1970s, potter Wayne Higby has explored the fusion of form and surface decoration through the depiction of panoramic Western landscapes on the surfaces of his earthenware bowls and covered boxes. Higby's scene-decorated vessels are not simply functional containers. For the artist, they are points of departure for imaginative journeys through the austere Colorado landscape of his childhood. As a youth, Higby loved to ride alone on horseback along the crests of the sandstone mesas to the east of Colorado Springs, and panoramic vistas of canyons, rivers, and vast rock formations constantly reappear on his vessels.
Since the enveloping scenery on his bowls is depicted according to the laws of perspective, and covers both the concave interior and convex exterior surfaces, the two-dimensional image completely penetrates the three-dimensional form. When lines and colors on both inside and outside suddenly combine into recognizable images, then surface and shape are instantly united, and the pot is magically transformed into an illusory scene that, given variegations in color, shade, and texture accidentally produced by raku firing, is suffused with a sense of natural light and atmosphere.
Temple's Gate Pass (1993.54.6a-j) represented a return to the covered box format, first explored in the early 1970s. Fabricated after a sabbatical from teaching duties in 1986–87, it is composed of five diamond-shaped, lidded boxes, each of which is conceived and decorated as an independent form. Yet, when aligned corner to corner, the slabsided walls present a unified, accordianlike plane across which is represented a single, autonomous landscape vista—much like a scene depicted on one side of a folding Oriental screen. But Higby's multipart piece, is fully three dimensional, and as the spectator circles the piece, the depicted scene, while retaining its unity, constantly changes.
Temple's Gate Pass represents the conjunction of two canyons in a panoramic vista of snowtopped mesas marked with turquoise lakes and rivers. It is not a specific locale, but an abstracted image of Western scenery. The austere geology of the Colorado mesas, characterized by sharply defined planes and edges, suggested the actual structure of the work. The micro-geometry of the boxes, composed of rhythmically alternating, handbuilt planes—some walls leaning inwards, others outwards—suggests the macroformations of the canyons themselves.
The landscape scene itself was based upon a series of panoramic drawings the artist made in 1988. Selecting one of the sketches, he first developed the physical structure of the linked boxes, and then, before and after firings, elaborated the design in three dimensions, ensuring its unity and continuous flow over multiple planes.
Jeremy Adamson KPMG Peat Marwick Collection of American Craft: A Gift to the Renwick Gallery (Washington, D.C.: Renwick Gallery, National Museum of American Art, Smithsonian Institution, 1994)