The vase represents an immersive world, or the technology that surrounds us that we have created. It also stands as the maternal symbol; in this regard it is positive because it is about nourishment. The vase is supposed to be in the "spill" position most of the time, so it implies water flowing, which is also a maternal symbol.
The vase may be held, but it may also be big enough so the user can go inside. The vase can hold things inside as well. It will have a texture that moves like water. It can spin. In general, it can do anything that means holding, or being immersed or related to water motion.
The dice is a symbolic image of something selectable with luck. The drawer can roll, but can't match the number he wants. The number shown by rolled dice is of randomness. It shouldn't be dice. It might be slot machine or numbered wheel. However, dice is more mysterious to look and easy to manipulate.
Each side has number 0 or 1, binary numbers. The combination of three dice can generate any decimal numbers, but most viewers may not understand because they can't convert binary to decimal instantly.
Here's how to convert -not necessarily exposed to all viewers:
Note
Viewers can roll the dice and then get binary number from three dices. Each dice Represents one digit of binary number. For example, one dice has 0, one dice has 1, the other has 1, then the number will be 011b means 3 in decimal. The 3rd reaction is now triggered to be open or launched. Each dice may have three different colors like RGB. R is the first dice wherever it is placed, G is second, and B is the third.
Three four-sided pyramids, one smaller than the others. The pyramids represent the idea of Cosmic Supernatural. That can be interpreted differently by different people, during different periods of history in different cultures. Cosmic Supernatural can be for example: Superstition, Destiny, The Higher Power, Magic, Religion, The Personal Star, your own explanation and interpretation.
Why pyramids? There are many many reasons... Reason 1: It is a true fact that during all these years of human existence Cosmic Supernatural was and is still there. I see it as a part of the human nature that will never disappear. Most of the people deny its existence, some others are afraid to admit it and very few acknowledge it openly. Reason 2: Pyramid is a shape that can be interpreted differently. For ex. someone might interpret it as the hierarchy that exists in the world and that brings back to the Cosmic Supernatural idea. Someone else might interpret a pyramid as the nutrition hierarchy...Reason 3 and rest: Events that have happened to me, personal instincts that became reality, beliefs about the path of life, etc...
The pyramids are surrounded by sand dunes. They are powerfull and their position can depend on something (like the Egyptian ones - on stars). The user can go inside. They are supposed to magnetize or scare. Their texture is still under consideration, but it will definetely not be realistic.
Upon entering the environments, the user is always being watched by the Eye. Depending on the user's location and/or actions the Eye will either closely examine or survey from a distance. These characteristics comment on how the increase of technology in today's world seems to compromise one's privacy.
Note to students at Massachusetts College of Art – 1986
THOUGHTS ON THE VASE AS ART
A good strong big classic vase draws me to it, and I am satisfied by its form. It makes me feel as good as any painting or any sculpture, although each kind of art can have the same magnetic effect on me. Artists latch on to a format, and they work in "series", using a form over and over again mostly because it feels good. Art is a hedonistic pursuit, and even for the viewer it is more for pleasure than for other purposes. Some artists use the vessel, some use "boats", some use "houses", some a rectangular canvas. The vase is a format for exploration, for self expression, and I use it often.
The classic vases, Egyptian or Greek especially, have a voice for me. They are purposeful, often conveying thoughts or capturing a moment in time. They are a window on their respective civilizations. They are about humanity, not about process. This meaningful concept extends the format of the vase beyond form, to a different kind of communication.
Following this format I try to convey a feeling with some of my vases, specifically the vases with drawings. Humor is my favorite. When somebody laughs out loud at one of my pieces I get a kick from that moment which dispels any doubts that may have creeped into my head regarding the necessary seriousness of art. Incongruity, disguised in beauty, with an element of surprise, is an approach which I use to accentuate a concept.
My Tripod Vases and other departures from what I am calling classic form are exercises in combinations of form. Some are just about shape, the re-arrangement of the elements that make up the vase. From a design point of view I am interested in form and see it has endless possibilities, but thoughts are illustrated by most of these vase sculptures. There is an element of surreal ism in these pieces, because I played the "what if? " game, making a series of vases based on absurd ideas of exaggeration. The preceding art generated the art.
One day I went to my friend Otto Piene's house for dinner, and he had one of my vases on the table with a candle in it, making effectively a lamp. Another time he had flowers in it. It is obvious that that vase is utilitarian to him, yet pieces from the same series are in other collections where a certain precious attitude prevents the owners from anything but looking at the piece and keeping it in an important place. I don't care in either case what way they appreciate the pieces. To me the making of the work involves a certain energy and attitude which I enjoy. It is what I like to do as an artist; vase or wall relief, drawing or sculpture. When somebody else eventually owns the work, they relate to it on their own plane of experience and attitude about art. It makes me feel good to know that the piece has a second "life" with the person or place that gets it after I'm done with it. Who cares what they call it? Its only when critics and dealers begin to create the hierarchy of "important" art that some commercial concerns come into the picture. I'll play the game when it means sales or no sales, but the motives for my making the work remain the same, and the vase is as much a part of my art as any other type of format for expression.
—Dan Dailey