1. September 2018 (RESEARCH) L6 Characteristics of Practice
I begin early on in Term 1 defining some of the concrete pillars of my practice. I want to make vessels for one. A vessel is the original abstract form and its familiarity means I can imbue it with metaphors and layers of meaning while still being accessible to viewers. I also identify traces and memory of place as significant to my practice. I think I want to make functional, wheel-thrown forms decorated in ash glazes, utilising weeds and plant waste in Cardiff. In the months afterwards I will hone in on these ideas, realising it is the capability of clay to hold traces and memory that I am particularly interested in as well as the time of making.
2. October 2018 (RESEARCH) Sensory Geographer, Kinetic Poet
A month later I begin to understand more why making vessels is important to me. While my work so far has defied boundaries of fine art, craft and design, it becomes important to me to root my practice in this tradition of pottery since I want to especially feel connected to the tradition of clay in the UK, reaching back to Leach and Hamada who had such an influence on the development of ceramics in this country. While I admire the work of potters working in the country pottery tradition – Leach and his disciples including Batterham and Pleydell-Bouverie and contemporary potters like Jack Welbourne and Charlie Collier who have adopted these values, I don’t feel satisfied making functional work in this way. I find Leach’s potter’s book dictatorial and I connect with De Waal’s description of the passive-aggressively humble pot. I feel pots made with such a nostalgic aura can lack a sense of humour and so I want to rebel against this paradigm of ceramic virtue. A quote by Alison Britton about it being necessary to go beyond technical skill to make work relevant to today’s world strikes me as pertinent.
3. November 2018 (PROCESS) Gas Firing Gallery
Feeling a bit lost, I decide that in order to understand clearly how I feel about traditional pots I first need to embrace them and become familiar with the processes involved. I adopt the stance of ‘know thine enemy’. Skill is important to me still because it teaches things that I think are good such as patience and commitment, remedies to our culture of speed where sloppy craft is prevalent. Over this first term I focus on improving my throwing skills so I am confident to take bolder risks as well as learning how to fire the reduction kiln and developing a range of reduction glazes based on traditional shinos and ash glazes. I decide not to focus solely on ash since it is difficult to get it in enough quantity and results vary dramatically depending on the type of wood in the mix.
4. Dec 2018 (RESEARCH) – PDP L6 Term 1 The Gesamtkunstwerk Bowl
Having written the main body of my dissertation at this point I have much more knowledge about the relationship between ceramics and time and its importance to my making (my thesis is titled ‘re-defining the experience of time in contemporary ceramics’). I am no longer confined to the indeterminate idea of ‘slow art’ and creating a relationship between an object and viewer which draws attention to the present moment. I frame my thesis argument through examining works by three contemporary artists in relation to time – Phoebe Cummings and her raw clay installations anticipating collapse in a future time, Keith Harrison’s performative firings demonstrating transformation in the present and causing temporal anxiety and Alexander Engelfriet’s practice exploring the preservation of traces made in the past. As a result I feel liberated to move away from the functional vessels of the bowl project and explore the layering of time and traces in my vessels in a different way – through building up and breaking down the vessel in a repetitive, continuous duration through time, working in iterative response to past moments.
5. Jan 2019 (RESEARCH) Statement of Intent for Exhibition Module
I decide to return to a process I have used in the past, of hand-building with thrown forms to juxtapose two modes of time. I like how thrown forms capture the tension, speed and movement in the process of throwing but I also enjoy the breaking of this tension and creating new rhythms by slicing the vessels and sticking them back together in a new configuration. This process would not be possible without the skills I developed in the previous months in order to control and manipulate the clay. My vessels still feel too safe and I begin to look to artist/stuntmen like Peter Voulkos for inspiration. I begin to consider more the time of actions and making as a dance of choreographed or improvised movements.
6. Jan 2019 (RESEARCH) Gareth Mason / Mudfondler
In the same vein as Voulkos is contemporary potter Gareth Mason who I first heard of at the 2015 ICF where he was demonstrating. I found Mason’s method of working resonated with me since he sometimes works on a single piece for years, firing, re-firing, breaking apart, sticking together and re-firing pieces until he arrives at a piece which can be considered completed. Mason works especially with subverting our ideas of beauty, working in particular with eastern celadons, copper reds and traditional korean, chinese and japanese vase forms, smearing sections of the delicately thrown porcelain vessels in darker, earthier clays which fracture and bubble. He is interested in a sensous beauty rather than the refined, oculacentric beauty of the past. He creates sculptures which make the traditional korean moon jars resemble the dull relationship of Edgar and Catherine while his own are the passionate, destructive and toxic relationship between Catherine and Heathcliff, chained to nature and the dangers of the wild.
7. Jan 2019 (PROCESS) Building Bigger
I struggle with the tricky process of building with and altering thrown forms. I learn to work on pieces slowly over days, covering the pots in bin bags to balance out the dryness of the different sections. I experiment intuitively and spontaneously with mark-making, developing a vocabulary of marks which include slicing, squeezing, patching, punching, drawing on and cutting sections out of the clay.
8. Feb 2019 (PROCESS) Extruding and Throwing Combined/Adam Silverman
Following on from John Clarkson’s lectures on the bases of pots being ceramic ‘parergons’ and how the grounded nature of pots makes then feel safe and humble, I begin experimenting with extrusions alongside thrown forms. I begin intending to make extruded legs and frames for the thrown sculptures as plinths to elevate the status of the humble vessel but later use the extruded sections stuck on or pierced into the thrown pots. In retrospect, this is something I would like to push further in the future since I still feel I was too precious with my pieces. They took time to make and the pressure of an upcoming show meant I felt each one had to succeed so I didn’t quite push them to the edge of destruction. Later I returned to making extruded legs for my vessels to sit on, feeling the two vocabularies of shape (precise extrusions and fluid throwing) was too jarring.
9. March 2019 (PROCESS) New Glazes for Fractured Vessels
I realise I am a maker who prioritises form over surface. Unlike Gareth Mason, my sculptures are uniformly glazed so as to highlight the marks and traces in the clay. I struggle with deciding how to glaze my pieces before realising it makes the most sense to draw from my previous reduction firing knowledge and glaze the work in shinos, tenmokus and ash glazes which reference back to the standard ware at the Leach Pottery in St Ives. The familiar, domestic glazes are unexpected on such unorthodox and sculptural forms.
10. March 2019 (PROCESS) Corridor Crit / External Examiner
I can begin to identify the small details that make one of my vessels work and start imposing restrictions on my making after so much freedom previously. Minimising choice can be liberating.