In the valuable sessions with Theo Humphries, we looked at my ethos as a maker.
We unpicked, simplified and made it more punchy.
I’m a ceramic gardener.
By this I mean that I work with clay as a living medium to grow ceramic forms. These forms are nourished by fertile interactions and are cultivated by my practice.
Employing the metaphor of a gardener is important to me because it enables me to forefront the unpredictable and vital dimensions of clay as a material.
I’m a ceramic gardener who works with clay as a living medium, to grow shapes and forms arising from fertile interaction and cultivation.
To interact is to exist. (I could expand on this too.)
Scaling down to the form of garden is to simplify the world into the human scale and experiment with it, seeing it through different angles.
extras – (I’m inspired by Japanese rock garden who’s pivotal points are inorganic rocks emerging from within rubble, representing movement of the sea and islands of life. … Modernist sculpture and abstract expressionism looking at the essences of form, space, interaction and the materials.)
Freddie transforms the craft of knitting and textiles into conceptual art where her peculiar life-sized bodies challenge the notion of normality and conformity. “She uses knitting to explore pertinent contemporary issues of the domestic, gender and the human condition, more recently exploring and expressing intimate feelings of sadness, fear and loss.”
Freddie captures my interest not only in her peculiar and fun wool sculptures, but her eccentric and playful personality.
I wish I could express this side of my character in my work more too.
Freddie’s work is full of bright colour with vivid narrative and context.
The Perfect – Alex, 2007
Collection of Knitted Folk Objects – Old Nanny Witch , 2014
It’s highly figurative as her concerns cycle around the human condition, domesticity and gender; an issues I’m mostly interested to explore.
Her project ‘Knitted Homes of Crime’ depicts a number of wool houses where a female killer would have lived or committed their crimes.
It plays beautifully on the ideas of domesticity: with the domestic aspect of textiles and activity of knitting, the container – house and femininity associated with housewives; but destroys it with the narrative and context where safety,certainty of containment is exchange with danger, uncertainty and rejection.
This juxtaposition and contradiction is the way I tried to lead my work and context, and still add as much process learning and exploration of clay and ceramics as possible.
I also used textiles as my starting medium, but then translated it into ceramic and played with the functionality of a tea-set, a very domestic object, and used it to narrate and express feelings of containment, or rather its absence.
American Abstract Impressionist sculptor, who would emigrate with her family from Nazi torn Germany as a very young girl. When spending a year back in Germany, she had to use her ingenuity and creativity to create expressive sculptures from found material in disused German factor, where later materials such as latex, fibreglass and plastic become her characteristic elements throughout her work.
Untitled (7 poles), view in studio, fiberglass over polyethylene over aluminum wire
Untitled (Rope Piece), 1970
Her creativity and playfulness in usage of these unconventional materials fascinates me, and that’s where I would like to strive. It’s very minimal approach of exhibiting, which subtly suggest ideas behind human condition – in its sexuality and naturality distanced from conventional nature, repetition, connectivity, or failing to find satisfying amount of meaning.
I want to strive for more playful usage of other materials with ceramics, as I managed in Tea for Two, and stay within the subject of human condition and philosophy, as that is what art means for me.
Katharine is UK ceramic artist predominantly working in unglazed porcelain, creating a three dimensional drawing of everyday inanimate objects.
I admire the strip to complete simpleness in Katharine’s work, but still expressing a lively and whimsical illustrative nature, with aspects of positive nature and character of the artist.
Especially with her newer work, archive drawers, collections of found specimens from nature expressing almost childlike fascination with the world.
This work informs my exploration in line through supportive structures of cooling towers and industrial architecture in my Subject, as well as the seams of my Tea for Two textile tea-set.
The ambiguity is especially strong in this collection of peculiar objects, being life size replicas of real objects but stripped down to number of lines and a shape, making us feel uncertain of their full 3D or 2D capabilities; same as my uncertainty in stability and containment.
Annie Turner (1958) is British ceramic artist notably known for her gridded ceramic vessels/sculptures. The hand-build stoneware structures explore the River Deben and surrounding landscape of Suffolk, closely linked to her family roots. The sculptures reflect the rivers tidal changes and seasonal rhythms by naturally warping and changing in the extreme heats of kiln.
For me it beautifully represents the time passing relating to physical space, and the stability or rather absence of stability and absence of permanence that time and space dimension brings.
They “echo the forms of its (the River Deben) associated man-made structures, such as sluices, ladders and nets. The surfaces of the works suggest processes of change and transformation, through erosion, decay, rusting, or accretion. The works reflect both the natural rhythms of the landscape and its fragility.”
I photographed and looked at photos of decaying and rusty industrial structures. The natural landscape of man’s security and stability through work.
I want to explore the natural landscape of humans, the feeling of stability, security and certainty.