I am going to attempt a difficult discussion of two of Jay Strommen’s most esoteric pieces I’ve seen thus far in my study of his works. These are placed side by side as they share the same philosophy and ideology. One is simply more ‘advanced’ in his thinking and work than the other. Both are masterpieces.

Both are very substantial pieces, each one sharing great weight and size. The clay, firing and glazing are identical, as are the philosophies behind each creation. The rough dimensions for both are between one foot high and approximately one foot in width. These dimensions are approximate, as each time you move the ruler the width and height changes. They are actually more massive than these measurements, but are difficult to capture. Of the several characteristics they share, they are truly massive.

At first glance one is in shock at what he has done. I feel that the label ‘abstract expression’ will fit here more than any other, if one requires a label. There is considerable deconstruction in both, but they are deconstructed within certain parameters, with each sharing the same parameters.

They both share the title ‘Bottle Rocket Series’. This is where the discussion of their form and philosophies is the same. But, one is most definitely farther along in its development, self containment and construction. The bottle rockets are extraordinarily sophisticated sculptures. These are found to be the focus in both pieces.

The Bottle Rockets are very precise spheres, with meticulously placed and constructed miniature holes. The placement of the holes is arbitrary in both. It is a great pleasure to discuss their origin. Strommen worked and developed these in Japan. Scores and scores of them were done before the perfection of the thought was reached. They also have meticulously placed ‘collars’ as finials and focal points on each. These are also painstaking in construction.

The first of the series is a creation with its Bottle Rocket as a whole, untouched by any aggression or violence. The second piece shows the Rocket as a disassembled, cut and destroyed entity. However, it remains a twin to the first one. Both Rockets are enclosed in a somewhat circular housing that is totally abstract in nature. It is apparent that the Rockets are trying violently to break out of each ‘cocoon.' The environments both Rockets live in are deconstructed, slashed, and asymmetrical, and constructed without constraint of any type.

The difference between the two is that the second rocket is in a more conservative circular housing that is not nearly as abstract and free form as the first. The first one moves violently and spontaneously in virtually every direction. There is freedom in each of Strommen’s moves. The second piece is more carefully constrained and developed, but still deconstructed in Strommen’s spontaneous style.

As a postlude to this challenging commentary, it must be pointed out that if ever a photo is worth a thousand words, it is now. To end, Mr. Strommen commented, I believe by accident, that the rockets are a metaphor and in reality a housing for us and our civilization being shot  (I believe violently), at some time in the future to the stars. Much of his creative genius is in his metaphorical and abstract thinking, which could only have produced these incredible works of art. They could be studied and interpreted continuously, as one could never reach a concrete conclusion. I sincerely believe these constructions will live forever – wherever they are, and bring puzzlement, shock, mystery, fear, and lastly, admiration for this artist’s virtuosity and inspiration in clay sculpture.

CODE #6 – 195 & #6 – 196