Rebecca Pocai

Lewisville, Tx 75067


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Rebecca Pocai runs a small art studio out of her home in Lewisville, Texas.

Her interest in ceramics started in 1991 when she took art classes from Marty Ray at North Lake College and then began working there as a studio assistant.

She has a great love of science as she studied it before switching majors to Art. This is reflected in her love of ceramic science and graphic art.

She has a BFA in Ceramics and Sculpture from Stephen F. Austin State University in Nacagdoches, Texas (1995-1998 Mary Rebecca Huston). There she studied under Piero Fenci and his masterful graduate students John Donovan, Matt Burton, and Robert Muller.

She is currently an active member of the Cross Timbers Artist’s Guild. She also regularly attends Eric Orr’s Sunday classes in Copper Canyon and occasionally substitute teaches for him.

Finding Beauty in Imperfection

I grew up in an atmosphere of dusty antique shops and industrial warehouses.  In the isolated corners of such places beauty is found in forgotten, worn, and used objects and surfaces.  This environment of grimy work houses and dusty treasures has greatly influenced my current body of work.

Over time, the interaction of both man and nature leave marks upon all things and places. Most people would deem these visible signs of erosion and use as imperfections, but I see beauty in them and feel they are worthy of imitation.  They hint at the stories an object or place could tell if it were to speak.  For me, it recalls sentimental days of my childhood spent at my father’s factory helping him bend and shape metal, or times spent playing with old toys and dishes in my mother’s antique shop.

My current sculptural work of layering and textures is a means of suggesting the history of an object and the slow deterioration of its materials through the passage of time. Each piece is formed from a hand-made pattern; a method my father would have used to create rough models of fixtures and parts out of sheet metal.

This pattern making and utilization carries over into my functional work. I enjoy finding a way to make work in a fairly consistent manner while each piece retains some individuality and obvious handmade nuances; such as thin or spattered glaze, tool marks, hand painted details, or slight imperfections from the manufacturing process. I draw inspiration for my functional work from the antique stores of my childhood. Emulating aspects of forgotten toys, majolica dishes, and aged ephemera temporarily preserves them for me and slows their memory from decay.

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