Sean Lofton is a graduate of the University of North Florida. Before studying ceramics Lofton worked in metal creating large-scale sculptures influenced by modernist architecture. The body of work on display here, is a representation of high-craft; with strong attention to function and understanding of materials. Lofton has an affection for poetic lines. His forms have a massive dominant presence while maintaining a sense of delicacy like that of fine porcelain.
Just as an architect considers the way an inhabitant moves through and interacts with spaces created by walls, stairs, windows, doors, Lofton considers the physicality of interacting with his vessels; how a user’s fingers will move around the handle which is both a functional element and natural adornment; or how the cup’s foot rests on the surface of the table, sturdy, secure, allowing the form to grow upward from it.
Technically, Lofton exhibits skillfulness in his choice of materials. The earthenware clay body is fired beyond it’s typical range producing additional glass formation in the clay matrix strengthening the piece. For surface decoration, Lofton uses terra sigillata, a method first perfected by ancient Romans who used the material for its ability to seal porous clay without using glaze. Lofton uses it for similar reasons, adding pigments to adorn the work while taking advantage of the matte texture inherent with the material. The scraped and scoured surfaces seem to bleed with iron oxide naturally occurring from within the clay, reinforcing his “dystopian” concept. His liner glazes, found inside the vessels, fit perfectly with the fired clay body displaying a proficiency in the alchemy that is ceramics.
All the work on display is functional, dishwasher safe, microwave safe, and completely non-porous.