My most recent work has been based around the use of, acquirement of and processing of clay. I am focussing on the use of skill as a precondition for art making. Research is informed by process, experiment and forming a relationship with the material –...
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Final work at ECA Degree Show 2015.
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ECA Degree Show 2015. Final piece, 46 shelves for 46 pots “Portraits and Pots”, 2015. “40″ 2014, “Riddle” 2015.
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46 shelves for 46 pots #ECADegreeShow
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An update on the degree show set up: interior cladding is being used for the flooring, an area of about 7m x 3m, either side of that the floor will be hessian to create an old style work shop feel, alongside the more presentable floor boarded space. This is where the more clean things will be presented. 46 shelves, cut from some old palettes will be on the back wall withing the boarded area.
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A beautiful whiskey jug made by Thomas Dawson in his lesson today!
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Conch Keep Cups - throwing
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The conch keep cups, "lydcups" are done, drying and ready to be fired!
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Kenny Hunter’s Pottery Lesson; snippet
You may also find there’s just air bubbles in there. If you feel there, there’s probably an air bubble There? That’s why you want to be pushing it down to bring it back up again to get those out. Is it yeah. I’m making it worse! I’m making it worse! I think its most of the time because you haven’t locked your elbows down then your arms just flapping around!
Lock them down Kenny. Have a lock down.
As well, it might just be that when its slowing down, if your hand is still applying the same pressure, its causing that massive wobble to happen.
Feel like I should start again..
No no!
Can I wrestle it back in to shape?
Yeah.
I’m getting it all on my hands, atleast there’ll be loads of clay slip at the end.
So what’s the strategy?
Strategy?
Mm tell me what I shall I do now?
To save it?
Yeah, I've messed up, it feels more off center than before...
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Students pots and conch keep cups are all progressing and drying well!
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A snippet from Thomas Wick’s pottery lesson:
--1 hour—
It’s quite entrancing.
Yeah.
Woops… Yeah, oh it’s gone.
Right. Start again.
---
Is that enough?
Yep
There is a big kind of loss, although with 3d printing now you can take your pot and just print it out…I remember hearing they did the first ever 3d printed thing in space.
Oh yeah for a part.
Pretty groundbreaking, when you can just print parts instead of shipping them up!
Haven’t they started 3d printing organs now?
Yeah!
Pretty weird….how do they work?
I guess it’s the stem cell…
Yeah. That’ll do probably.
Yeah? When i was at BMW, our studio looked onto the clay workshop outside and they’d make proper mock ups of the cars and get frames, and basically spend 3 days slapping clay on them, so that’s all you’d hear for 3 days.
Haha wow.
Then they got these 3d arms to mill out the shape, from the computer, these arms spent a day, two days doing the whole thing and then they’d finish by hand. It’s the sort of thing they’d been doing for 20 years, started when they were 18 got an apprenticeship…
I think that’d be a great job!
-- Hmm yeah when you put it on try and get I as central as you can, when you’re a master you can just throw whilst it’s moving.
Haha yeah
Yeah the guy who taught us would just have it spinning and just throw it on
Experience I guess!
Yeah..
^�
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A snippet from David Haslam’s pottery lesson:
How long will it last for? It’ll probably dry up in a few months but could just wet it up. So it will go on forever essentially? Yeah we’ve got some clay in our garage that’s been there for 15 years. Yep. It’s almost quite nice that some materials have a potential, like a blank piece of paper, (that’s actually maybe not as interesting) ha. I just went to this David Nash exhibition, I don’t really like his stuff, but the best work was these two tree trunks lying next to each other, they had the most potential. Hmm… But I guess you have to show work in the context where they have or haven’t been made. Well I mean there’s like, a good chance that I won’t even show any of the things that you guys produce, the pots won’t be part of it.
Yeah. I always think if you were doing the same thing it would be interesting, because you can see the progression where as if you only have a few things each that are different I don’t really know what that shows. Other than people doing pottery for the first time…
Yeah. I think its quite interesting watching people work; you know if you have a conversation, you’re not trying to pry too much. I think it’s interesting as well, over hearing people talking to their animals. Its funny you wouldn’t even think twice about doing that. Yeah. Or you might talk to your dog differently if people are there. Yeah. Oh dear, I’d better concentrate on this… Haha.
How come we couldn’t keep going with that other one?
Yeah just, if it’s got too wet, and it’s coming away there’s not much point, no point wasting your time over it. And there’s a point where it’s not salvageable.
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Comrie supplied westray mid stoneware clay, no grog. Perfect for throwing & domestic use. This is the first keep cup for Conch Coffee. 50mm neck, 145mm height, 95mm bust width.
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Keep cup, 145mm x95mm x50mm, westray stoneware, no grog.
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Conversations in Clay - Workshop Proposal
All of the 'stuff' in my studio space does very little other than solicit decoration, reminds of the materials I use. They represent something that may not have been realised or recognised yet. There are tools, objects, equipment, materials, books, ideas, notes, pictures, dry clay, wet clay, sieved clay, wedged clay.....but what does all of this take the form of? What should it be realised into? A way of utilising everything that has accumulated over the past year, without me just sitting amongst my materials, or showing their processes, is by teaching someone else to use the equipment and materials. The processes prior to this are already there, have been achieved. It seems highly important to share my 'stuff' physically, not only visually, with people. This creates a dialogue that is not only about the artist and her materials but about the engagement with others on a social, communicative level. What else does it achieve? Mainly, it transfers myself away from the finished object, or the idea of the finished object. It is an unpredictable process. Thus, I also disconnect slightly, especially from the responsibility of the work. Ciara Phillips, on 'Poster Club' said:
"When you work with other people they bring things that stop the way you normally work. they present other challenges." The process, the materiality is all still there; but the intention has changed, the responsibility has shifted - it becomes more powerful in this sense, as well as disconnecting the artist from the work. The Conversations that occur during the process of two people making pots becomes representational of the processes, materials and experience of learning and teaching. Communication is rationalised; the piece of art facilitates a collaboration - the documentation realises it. The potters wheel is a vehicle for this.
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