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Ideas

For this project I have been working with the idea of cyclical time. And how that humans have now shifted the planet into a new epoch called the Anthropocene. Yet in a million years or so the world will have consumed our existence back into the land.

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Ideas

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  1. For this project I have been working with the idea of cyclical time. And how that humans have now shifted the planet into a new epoch called the Anthropocene. Yet in a million years or so the world will have consumed our existence back into the land. • There is a sense of place a site of geologic metabolism, that could or not be of human existence. • The temporality of the material is illustrated by the use of ceramic that is shown to be both solid and liquid. An ambiguous state that is both eroding and growing and the same time.

  2. Ideas This project has been in direct correlation with my dissertation which asked the question; How does art help to communicate the Anthropocene? By looking at anthropologist Tim Ingoldand his writing on a loss of connection to materials as opposed to materiality. Geologist Jan Zalasiewicz who is heading up the Working Group on the Anthropocene and Manuel DeLanda who talks about new materialism and in particular “morphogenesis” – the production of stable structures out of material flows. To illustrate this idea of material flows I have been working with the idea of cyclical time that stemmed from a specific site. This has now grown to a site that is purely representational of this idea of material flux. There are now only signs of human architecture.

  3. Skills For this project I have been working with the idea of showing clay/ceramics in its different states. To illustrate this I have been using slip and pouring this onto all the surfaces not just the cavities of the molds I made of my representation of architectural relics I found while walking on the beach. This pouring has allowed the material to retain the visual language of its liquid state when high fired.

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  5. Context Geologic Metabolism This project started with research into a beach that has been eroding to uncover a world of architectural rubble that was placed there after the second world war. The body of the work that will be exhibited has taken this as a starting point and is now a world unto it’s self. The only reference to the beach will be in photographs that I am compiling into a book.

  6. Exhibition I would like three components of work that arein conjunction with each other; a floor piece that will comprise of the smaller pieces, the relics, a ceramic non-closed circle that I see leaning up against a window and a photograph of an extreme close up of a fired ceramic landscape. They all respond to each other but not necessarily in a linear way. I believe this is important for me as I sometimes feel the need to clearly communicate a topic in my work and this sometimes plays out by being to linear. In a talk I went to with PhyllidaBarlow and Daphne Wright, Phyllida asked if art needed to communicate? This has stayed with me and made me think that this is perhaps where my work becomes to literal. So I will be working towards anopenness in the work for this exhibition. To do this I have been looking at Linn Pedersen who uses both sculptural and photographic elements in her work.

  7. I also have been looking at Anne Hardy and her placement of objects. She always uses carpet to define the space and calls her made environments ‘fields’. She then photographs her ‘fields’. Which is something I am interested in exploring more.

  8. I also look at Phyllidia Barlow’s work for the accumulation and stacking of materialsand the anti-monumental, monumentalism of her work. The thing that these three artists have in common is that they re-use thematerials and off cuts from one sculpture that then become the main focus of another sculpture. This is something I am going to explore with this exhibition and in future work. The main difference with my work is that I am using ceramic. This means that I have to think backwards and take into consideration all of the many technical components that come with using this material. I have found this to be challenging but this has forced me to problem solve which allows for unexpected outcomes.

  9. Professional Practice In July/August I will be attending the Robert Stockley residency for a month. I am also working on a proposal to work with Lisa Scantlebury who makes bespoke packaging for artists. As I have an idea for a body of work about ceramic packaging. I am working on a book of images I have been taking of both my ceramics and land and materials that speak to each other. Also I am getting silk scarves professionally printed in London as a way of making money and connecting my textile background. There is also a new website under construction that will be similar to my old website www.fallingmoss.com

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