10/03/2017
CLAY : Speculative City : From Pilgrim to Tourist
From Pilgrim To Tourist (or a short history of identity). Zygmunt Bauman.
CLAY : Speculative City : From Pilgrim to Tourist
From Pilgrim To Tourist (or a short history of identity). Zygmunt Bauman.
Clay Based Practices : Ecologies~Things Emerging in Relation
Clay drawing/situation/collage based on a performative script/reading
Constructed in-situ at the Yard, Winchester. A life-size record and memory of a human presence as a site for mutual introspection.
Inspired in part from the novel " The Children of Men " by P D James.
Artist Statement/Chapel Arts Residency 2010.
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
Vessel as a fundamental expression of being and non-being a ‘no-thing’
A vessel is both a
hollow receptacle for liquid, and also a place where
“The mind of man
balances and reconciles opposites” Tom Chetwynd,
“We turn clay to make
a vessel; but it is on the space where there is nothing that the
usefulness of the vessel depends.” Tzu, Lao, Tao Te Ching.
Around Form and
Formlessness.
A Vessel is an
effortless three-dimensional manifestation of form and formlessness.
‘The benign
existential riddle of the vessel is that we only see the material bit
that holds our coffee.’ (Daintry2007:8)
One comes about as a
result of the other, and this search has a particular resonance at
the beginning of this fledgling millennium as technological progress
masks a perilous sense of physical and psychological uncertainty.
(Daintry2007:6)
Pottery is bound up
with the elemental needs of civilisation.
The search of
form/cultural and individual through participating with the potters’
wheel.
Alternative
“Thinking” States, Sensing, Doing and Being.
‘Its not easy to talk
about sensing, doing and being. They’re not concepts as such, neat
little fixed shiny packages of ideas, but more existential states
which shift and move as you inhabit them-more amorphous, like clay.’
(Daintry2007:6)
Amorphous values of
things/memory manifested through existential states (as a spatial
device/movement/atmosphere) in architectural spaces?
Zumthor, Holl,Paalasa,
Bachelard.
For the potter the
making of a cup or bowl through the opening up or hollowing out of
clay is itself ‘an essay into abstraction, a clothing of
emptiness’; for a vessel is as much defined by the negative space
in and around it, as the skin of the ceramic itself.
This skin is a sort of
negotiation between inside and outside, between solid and fluid, and
where they intersect. A vessel embodies something and nothing and is
an effortless three-dimension manifestation of form and formlessness.
(Daintry2007:8)
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