“I experiment with the two opposing approaches of chaos and control. The chaotic approach is personal, wild, and sculptural. My process embraces imaginative ideas and frequently takes large risks. I often build to the point of collapse, and these unexpected droops are embraced as they take the sculpture beyond the norm. The spontaneous nature of this process is adventurous and produces forms I could not conceptualize by any other means.
In the control state, I make pottery: I start with a plan and make with the consideration of others. Making is concerned with purpose and motivated by necessity in a conversation between maker and user. The unifying thread running through my work is flow state: to be engaged in the playful and exploratory act of making. My projects tend to take on a life of their own and often become larger and more complex than I intend at the start. The resulting forms are creature-like and are symbols of movement and life.”
Coleton Lunt considers himself a jazz potter: He learned the standards of ceramics by mastering the anatomy of a pot. Now he sculpts by taking the pot “out of key” through abstraction.
Lunt’s art changes with the environment of his community and is directly influenced by his colleagues and students. His aesthetic often reflects the red rocks of southern Utah where he grew up. At Northern Arizona University Coleton Lunt practiced wood and soda-fired pottery for four years. Afterward, he pushed the abstraction of pottery during an artist residency in Seattle Washington. His work became fully sculptural during his MFA at the University of Notre Dame. Currently, Coleton Lunt is a resident artist at Belger Crane Yard Studios in Kansas City, Missouri.