I had been fretting for a long time as to what I would say to the tutors during a one to one tutorial after presenting a confused petcha ketcha. I hadn’t quite figured out with myself just what I was trying to say through my project work. I did numerous mind maps to unravel my thoughts. I started questioning, (and still continue to question), what it is that I really want to focus on? I tend to be jumping from one theme to another. What connection am I hoping to create between my work and my audience? Who do I want my work to attract?
As I’ve been pulled towards the theme of Palimpsest I continue to find out what shape/form I’m going to focus on. Whether this form will be towards a realistic perspective or a surreal vessel. I’ve found that movement and dynamics play a big roll in my work. They’ve started to create a voice of their own without my say being needed. Do I want to create another art form from an already existent piece? To elaborate on this, do I want to make art in response to others work? A good explanation or example of this could be the 60s art movement of Mail Art. sending friends/strangers art work and allowing them to elaborate on that piece.
What is the importance/value of my work? Can the erasure and deconstruction through palimpsest really create another being through my work?
Do I want to be depicting a journey in time alike to Francesco Clemente? -Who takes historical moments into his own perspective and environment of watercolours.
During the Tutorial we didn’t clarify anything for the Field:Subject project. I felt we only focused on the subject brief. I’m not quite sure how I am going to take the experience of drawing into ceramics. The field was very experimental and in the moment of the experience and is very hard to transfer over to the studio where creating that same environment is very hard.
Then during the tutorial with Duncan I surfaced all these questions and suggestions and found that the significance of the wheel is a primary tool of production. Looking at the significance of layering within a sculpture or vessel. Arising to the importance to be more immersive in the making and exploring through my making, rather than perfecting concepts towards a material.
I’ve come to realisation that my work is alike to a skinned body with broken and torn flesh. I want to distance myself from function and to create a playfulness within my work. To concentrate on the wheel, balance, layering and possibly slip casting the thrown forms for experimental repetition.