My work is about following each piece and being intuitively
open to an unspoken dialogue that spans a breath of choices and unknown exit
points. My interest in memory is the makings of the complexities of a souvenir.
The moments captured with an object that creates a personal language. For me
being an artist is an act of prosaic looking that feeds
making for heterogeneous artefacts that confront
the real world, curated by movement of life that allows the work to be
witnessed in challenging surroundings. I see my work as an anthology of
objects, each being a unique incomplete tangible question that collects
personal provenance. What stimulates my work and research is the ongoing amassments
of stuff I collect and own. Obsessions happen without acknowledgement and my
inventory shows no boundaries to objects, just an attraction that I find it
hard to explain other than: we find each-other.


Friday, 31 March 2017

Inherited Absents


Working with ceramics for over ten years has allowed me to develop a language that I consider is preserved in the layering of the making process. I work a lot of the time with repetition and the direct involvement of creating my amassments becomes an important translation to the work. I capture traces of making in the work that purposefully locks in a separation from my body through fingerprints and choreographed actions of movement. This in turn gives the objects I make an inherited yearning to the body both by distant trace and the behaviour of the symbolism presented.

Inherited Absents (2016-17) is a piece that presents a collection of numbered hand built porcelain wishbones. Each completely different and document the change in making from different sittings of creation. I intend this body of work to be ongoing and constantly renewed with the idealised destiny that each wishbone is activated between two people. Dipped in wax offers both a visual reading of the work to be more tactile, and in touch to offer a temporary feel of comfort and safety. Presented in a vintage free standing bird cage to condition the experience of looking at something kept and to be communicated with through bars of proscribed habitat. Ideas for the work extrapolate from commentary on the propaganda of climate change and how this has become a house hold terminology that is controlled by the edited agendas of the leaders of the world. I want the work to offer a very human centred involvement, a vehicle of connection and a talisman for a meaningful wish.



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