Redefining work from last term,
Striping down the different layers,
Taking down their complexities,
Reconsidering colours, slips, firings,
Their act in an environment,
What do they relate to,
What do they replicate,
The surface of our skin?
Stretched flesh?

Repositioning them,







Letting go of last term and allowing analysis and a forward direction to enter into my working progress
I’ve grown an attraction for the style of palimpsest, such as a loss of identity.

The identity may be ‘incredibly exposed’ or ‘incredibly lost’.
To not create more waste than there already is in the uni as well as general waste in the world.
To reuse over and over again the same piece of work
For different tasks;

To stretch, strip away, rub and smudge away different layers on a piece.

I want to start using clay as my canvas of slips, colours, surface for the firing.


In connection to field where we analyse our senses, we slow down the process to focus on what’s really happening. I’d like to replicate this within my subject of slowing down the process and really looking at what the object is.

As Joseph Beuys says in his exhibition in Hamburger Bahnhof in Berlin; “objects are to be seen as stimulants for their transformation of the ideas of sculpture. They should provoke thoughts about what sculpture can be extended to the invisible materials used by everyone.

Thinking forms – how we mould our thoughts

Spoken forms – how we shape our thoughts into words, or

Social structure – how we mould and shape the world in which we live in

Sculpture as an evolutionary process; everyone as an artists”

We also need to consider what an object represents depending on the individual looking at it, their history, personal life. The objects and environment surrounding the object is a strong factor that influences the objects meaning. It can be morphed into different visions as others look at it.


. – The shape of a pocket / John Berger

by Berger, John, 1926-


“In matters of seeing Joseph Beuys was the great prophet of the second half of our century, and his life’s work was a demonstration of, and an appeal for, the kind of collaboration […] Believing that everybody is potentially an artist, he took objects and arranged them in such a way that they beg the spectator to collaborate with them, not this time by painting, but by listening to what their eyes tell them and remembering.

linking back to how important presentation of work is. How positioning, materials and sequence can play a huge part and can be read completely different depending on how they are shown.


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