Quotations from: Evan, Brad. “Environment, Art, Ceramics, and Site Specificity.” In The Ceramics Reader, edited by Andrew Livingstone & Kevin Petrie, 512-16. London: Bloomsbury, 2017.

Works which incorporate environment and site specificity have additional tools to inspire thought and emotion about connectivity.  (513)

Art, at least “good art” inspires contemplation, consideration, conversation, and sometimes debate. The intent is often to trigger thought or emotion which is not always explicable in rational, everyday language.  […] I hold the belief that the emotional transformation induced within a viewer, I am speaking about the inexplicable one, is the direct result of the artist’s ability to metasomatize [or transform] matter. The artist might be a painter, sculptor, or a ceramist. When an artist has the ability to seemingly transform matter in a magical way, the resulting art inherits some of this ability to communicate on an emotional level.  (513)

Ceramic materials have history as old as the earth. The rocks we use to make our work are bound to the history of the planet. (515)

Clay may very well turn out to be critical matter in the formation of life. It’s [sic] link to the history of life, and earth, and it’s [sic] natural ability to focus interaction on an atomic level, make it an idealistic choice for use in environmental works when one wishes to incorporate and utilize the intrinsic history of the material. Because of clay’s integral history, it has an ability to speak through eons. (515)