The concepts and research that I undertook in my work went from mapping of journeys, liminality, movement and sculpture. My current work relates to colour and exploration of forms, natural formations that don’t look manmade, more like impossible objects. The materiality and structure of the work creates a sensorial colour theory. Through the presentation process my work starts to connect more to the architecture it’s in and the forms that could be futuristic/modern buildings.
From the very start of my subject research I had been interested in movement of objects – making a journey and allowing the work to take us on that journey. This was produced through GIF videos of the movement of my photography and the subtle changes of adding/subtracting work from the frame.
My research was synthesized into ideas by producing very simple forms I explored the shapes for my work through the use of the extruder – repeating these maquette shapes through hand-building them in big scale sculptures. My work and the presentation has always been a response to an environment from the end of level 5 up to where my work is now as an installation of colour theory, visual play and sensorial textures of ceramics. My work lies within a liminal space between nature and the industrial.
Through my making stage and the start of deciding on my presentation I started to explore artists who mainly worked on the floor, Barry Flanagan, Betty Woodman, Corrina Thornton Matt Wedel, and most importantly Anne Hardy – creating a surreal environment. The influence of spare materials that Flanagan, Thornton and Hardy used was very experimental in my work and I’ve moved away from it as I come to a professional finished body of work, using one block of colour to absorb and project the colour applied on my works.
Once I was indulged in my skills and making process of coiling my last three big scale works, I needed to find practical ways of working with the weight of the work for firings, deciding on the colour theory throughout my research for colours meanings and experiencing, influenced by the ‘colourscape lab’ with Eloise Govier and my own relationship to the visual effect of colour. The difficulty of high firing the works with such powdery fragile surfaces on such huge works was very difficult. With the generous help of Matt we lifted the work from different surfaces such as tables trolleys and kiln shelves successfully, otherwise I re-sprayed the work with a small spray gun whilst it was in the kiln. I didn’t know how I’d feel about the work or how it would be placed once it came out the other end, not until it was at a finish ready to go into the show.
My intention with the work is to create excitement, confusion, direction and movement to viewers, seeing a ‘fun’ scene of absurdity.
I hope to extend my research of colour in future projects, my exhibition of work has just opened the gateway for me to further my knowledge and challenge my understandings within and outside of the practice of ceramics, from starting the year with the study of signs and signifiers. I feel colour has always been an underlying topic that I intend to explore further, from shapes and forms to the application of visual harmony.