L6 Characteristics of Practice

Slide1 (800x450)My favourite projects from my study time in Sweden were the anagama and wood firings. I enjoyed creating series of mugs, bowls and bottles on the wheel and discovering the different ways the flames and ashes had affected the surfaces after firing. I’ve realised from visiting exhibitions and fairs including the 2018 Hatfield Art in Clay, that I’m particularly drawn to vessel forms so I’ve decided that this form will become one of the pillars of my practice. During the vessel course in Sweden we discussed how there is something in humans which means we need to create containers for everything. We build houses to contain ourselves, then create boundaries to make countries. Our entire reality is conceived in the container of our mind through our senses and the narrow field of vision that contains what we see visually. The vessel/container is a powerful metaphor.

Slide2 (800x450)Themes of trace and memory of place have dominated my practice for a while now. I see the surface effects from the woodfiring as a continuation of this. Working on the Port Eynon Field project last year we worked with ideas of imaginary and mythical landscapes and it was interesting to see how working from the memory of a place is different to working directly with a place. Slide3 (800x450)

The Pembrokeshire coast is a place which holds a lot of memories for me. I’ve been visiting the area with my family since I was a child. Over the summer I went to visit Adam Buick’s studio and felt very drawn to his direct relationship with the environment. I liked his all embracing approach –the studio didn’t just happen to be in the environment it was part of it and what he made seemed to grow organically from the hills and the seashore. I want to return to using naturally sourced materials for my own work, for the aesthetics but also in order to make sure glazes are food safe.Slide4 (800x450)Matthew Blakely similarly uses materials collected from the environment. His focus is on rock glazes, samples of which he collects from various locations in the UK. Both potters use simple pot forms which act as a blank canvas for the random effects of crushed rocks , organic materials and ash to play on. In my own practice I’ve decided to focus on simple , functional forms, the complexity coming with the interplay of colours in the glazes on the surface.

Slide5Following on from my interest in spaces of transience in the city and ‘non-places’ and inspired by the artist Sapphire Goss’s recent interventions in Milton Keynes with a series of installations called ‘Eternity City’ I want to explore the flora particular to the urban habitat of Cardiff – the weeds and plants along the Taff trail and messy, overlooked roadside verges where we get a glimpse of what the city would look like if suddenly all people disappeared.

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At Hatfield I found I was drawn to functional ware – Ruthanne Tudball’s demonstration stood out. I like how she takes into consideration every aspect of the making including the waste product. She uses the pieces she took from the sides of the pot during faceting to decorate the knob on the lid. Her spouts and handles are made in an unusual way too – the teapot spouts are bellied out then folded over on top before being connected to the gallery rim. For the handles she first throws clay donuts before pulling them. I want to apply this same careful consideration of design to my own work. The idea of using something which is considered undesirable (in this case the waste clay) also ties in with the idea of using ash from undesirable weeds and plants in the city.

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Over the summer I borrowed a table top wheel to practice throwing. I tried making jars with galleries and flanges for the first time and really like the way these two pieces work as one, fitting snugly and satisfyingly together when you get the correct measurements. I threw the lid knobs up first then made the lid flanges hollow by trimming into them later. I want to try throwing the lids upside down so it’s easier to measure the flange against the opening of the jar. Each of the lids and jars is slightly different but I’d like to be at a stage where I can decide which design I like best and replicate it.

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Rusty oil cans and water boilers outside an antique shop in Machynlleth. Inspiration for form – I like the sharp lines and precise geometric shapes. These, like the overgrown spaces and weeds in the city I want to work with, are unwanted and uncared for.

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I’ve identified that I particularly like teapots and jars. Their lids mean that the pots become objects you feel invited to participate/play with more than you do with mugs or bowls. Something about the complexity of two or more pieces coming together to create one whole is exciting. Lidded pots call for the viewer to look inside and discover the purpose of the pot, what mystery it holds inside. Slide10 (800x450)

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Colour Compositions

After a conversation with Alice about Italian Still life painter Giorgio Morandi, I went searching for sheets of coloured card on which to experiment with photographing my series of sculptures from the ‘non-spaces’ project.  It’s fascinating to see how much the glare from the coloured card effects the objects. The dark blue which is my favourite gives a kind of softness and warmth to the glazes. The yellow is too sharp and harsh while the grey and light blue make everything look washed out.

It’s fun to take the shapes, forms and colours out of the context of the original project. Instead I’m simply working with their material properties in a kind of collage. This method has a lot in common with the work I saw recently at the Moderna Museet in Stockholm about ‘Concretism’. Concrete art ”accustoms man to a direct relationship with things and not with the fiction of things” by rejecting the creation of the illusion of space and three dimension on canvas. Similarly, I don’t want to create an illusion her. I am not interested in conveying any deep meaningful message, I’m only concerned with the balance of form, colour and of positive and negative space.

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In other news, I’ve started constructing larger sculptures using repeated press moulded sections in a white molochite stoneware. I’m really excited by the possibilities of working in this way. I like the control over the overall shape from the press mould. It restricts the decisions I can make so I only have to decide where to place them. This new clay is great to work with too – it dries quickly , supporting itself, and so far none of the joins have cracked. I want to see if it’s possible for the shapes to interlock and interact once they have been fired to form one larger piece.

 

https://www.modernamuseet.se/stockholm/en/exhibitions/concrete-matters/

 

Exhibition review – Jone Kvie’s Metamorphosis

This review is of Jone Kvie’s exhibition ‘Metamorfos’ (Metamorphosis) which runs from February the 24th to May the 20th 2018 at Göteborgs Konstmuseum’s ‘Stena Gallery’ for temporary exhibitions. This exhibition was curated by Camilla Påhlsson.

Metamorfos is the result of a growing investigation by contemporary Norwegian artist Jone Kvie into the dichotomies of body and architecture, weight and weightlessness, nature and the human condition. Equally, it is a celebration of alchemy, of the transformative power of fire and an experiment into what role lighting plays in the way we encounter and perceive sculptures.

This solo exhibition is organized into two conjoined rooms. On entering, the viewer is confronted with a tall white rectangular block that reaches nearly to the ceiling, a monolithic white cube gallery plinth. The artist’s name is stuck on at eye level in tall sans serif typeface, indicative of the exhibition’s minimalist aesthetic. Looking closer you notice this white section of wall is the exact negative shape of the space in the separating wall between this room and the next. This clever curation not only draws attention to the artworks but also to the spatiality of the room itself which becomes an extension of the sculptures. We become more aware of how our own bodies relate to the surrounding environment in scale and movement.

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Figure 1

The sculptures juxtapose jarringly with the clean and precise upright structure on which the artist’s name is displayed. Three long twisted bronze poles with their ends encased in rounded blocks of concrete (Stele #1-3) writhe in the space like streetlamps which have been morphed and uprooted by a horrific car accident. Through the placement of these forms the viewer is invited to read them like figures- two lying on the ground like dying soldiers, the other leaning bent against the wall as if injured and in pain.

In stark contrast to the weathered bronze tubes with their green patina, is the lighting. A sequence of strip lights line the walls vertically, the sterility and unforgiving brightness brings to mind a visit to the hospital. It becomes impossible to view the other sculptures without the afterglow of these lights in your field of vision, cutting across he forms. You cannot help but take in the space, the light and the objects as one unified whole.

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Figure 2

Continuing through the tall opening we find ourselves in a second much larger but darker room. On the marble floor is the archipelago of eight separate but visually unified sculpture islands that make up ‘Second Messenger’ (2017). If the first room contained the remnants of a car accident, here the scraps have been composed together in clusters, each containing an element of aluminium and long basalt rock. The aluminium forms are curious, some are metal girders but appear to have the texture of wood, others are more clearly disguised materials – there is an aluminium cast concrete breezeblock and an aluminium rectangle of corrugated cardboard. Again careful placement of these materials brings to life a human dialogue between them. The rocks take on human personalities, one pins a sheet of metal to the wall aggressively, some nestle together horizontally in a close embrace like lovers, others stand upright assertively. With the exhibition’s title we can almost imagine that these are people which have metamorphosed into stone.

Kvie’s exhibition is challenging to comprehend with its depth of metaphorical strata but is ultimately very successful in encouraging the viewer to contemplate the complex ideas which are described in the artist’s statement, namely our association to our present time and what it means to be human. Communicated through the work by the personification of the materials is a realisation that as humans we are ‘of the earth’ instead of distinctly separate from it.

Among my first thoughts of the ‘Stele’ sculptures was that they gave the impression of giant plants, green from oxidation and welded in sections like bamboo shoots. The concrete ends are like the upturned roots of a tree fallen in a storm, making one think of architecture as something which grows from the ground, of a human process as an organic process. This message is reinforced when viewed together with the leaning basalt in the opposite side of the gallery which contains fossilised plants weaving along the surface like blood vessels. On returning back to the first room I began to perceive the original bronze forms as monolithic fossils. This juxtaposition of vitality and lifelessness draws attention to the cycle of life and death and to a realisation that life is contained even in such stative things as rocks, which were formed in volcanic eruptions, requiring huge amounts of energy.

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Figure 3

In the exhibition guide it is explained that the black basalt is a mineral rich in calcium and  ‘Just like all living organisms, we need calcium in order for our nervous system to function correctly and relay nerve signals’.[1] This blurring of distinction between the human and non-human suggests to me an ecological approach similar to British anthropologist Tim Ingold’s explanation of ‘Meshwork Theory’ which imagines humans and non-human things as part of a larger, integrated whole.[2] In his essay ‘Toward an Ecology of Materials’ (2012) Ingold introduces Maurice Merleau-Ponty’s phenomenological reasoning that ‘every living thing, our human selves included, is irrevocably stitched into the fabric of the world.’ This reasoning that we are more intertwined with our environment than we realise might be suggested by the placement of the sculptures in Kvie’s exhibition. Here we walk among the rocks, over and underneath the metal poles. We are not spectators, separate from the exhibition, we are among it.

In ‘Making’ (2013) Ingold writes about how making anything is a collaboration between ourselves and a material and that the material imposes its own constraints upon us, just as we impose our own ideas and forms upon it. This theory of ‘Material Agency’ illustrates modern thinking about the symbiotic relationship of humans and the environment and an ecological attitude towards artistic aesthetics. Matter is no longer passive and inert, waiting for the human hand to shape it. In Kvie’s ‘Second Messenger’ the basalt rocks seem to float magically and weightlessly on a see-saw construction of metal girders, balanced impossibly as if they are agents of their own.

Interestingly in ‘Metamorphosis’, the number of strip lights appears to correspond to the number of separate elements that make up the sculptures. Their length and shape are also echoed in the elongated rock forms and aluminium girders, suggesting there is some link between the two. If each strip light is read symbolically as the partner of another structure in the exhibition, then perhaps they represent the energy and life that is present in each rock and metal form, in the volcanic metamorphosis of molten magma and the fire power that smelted the aluminium. Through this constructed framework we not only experience the exhibition holistically (the lighting, space and sculptures become a whole), we also get a glimpse of an extended holistic world in which humans are the earth, and rocks take on a human vitality.

 

Images:

Figure 1. Stele #2 and #3 (2018) by Jone Kvie

Figure 2. Detail from Jone Kvie’s ‘Second Messenger’ (2017), basalt and aluminium

Figure 3. Detail of fossils in basalt from ‘Second Messenger’ #5 (2017)

 

[1] Full exhibition overview “Metamorphosis” retrieved from: http://goteborgskonstmuseum.se/en/exhibitions/jone-kvie/

[2] Ingold, T. (2010, July). Bringing Things to Life: Creative Entanglements in a World of Materials. Retrieved from: http://eprints.ncrm.ac.uk/1306/1/0510_creative_entanglements.pdf

 

Object for Ken Stradling

For the third year in a row, second year ceramics at CSAD have been invited to create an exhibition at Bristol’s Ken Stradling collection by responding to objects from the collection. Unfortunately I don’t have the chance to return to see the collection for myself, but I’ve scoured the website and found a piece of design which captures my imagination – Eric Magnussen’s stainless steel ‘Vacuum jug’ (designed 1976).

In order to paraphrase the jug I’ve been playing at word association – space, double walled vessel, temperature, asymmetry, interaction, thermal, insulation…

       INSULATED
Origin: From the Latin ‘insula’ meaning ‘island’, connotation of protection.

I’ve decided to work with the idea of insulating. As a starting point I intend to buy spray insulation foam to create some forms and then make plaster press moulds of these to use. I’m thinking about islands, the space in between, emptiness and transition. I’ve heard the term ‘liminal space’ bandied around, maybe it’s time I dug deeper.

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Vacuum jug in the Ken Stradling Collection

L5 Final Project Proposal: Hierarchy of Space

Title: The Fantastical Non-Space: Subverting the hierarchy of place

Aim: I want to redefine the way people interact with what might be called the ‘ubiquitous urban landscape’ and more specifically non-places in this environment – spaces that have no identity, diversity or surprise. I am equally interested in the holiness we give to religious sites and places of worship and want to explore how weaving a narrative around the mundane spaces we pass through every day can elevate them to a space of significance.

Why: I want to play with the dichotomy between non-space and the anthropological space by giving unimportant no-places an identity, sense of humour and aspect of diversity and surprise – all the things they lack. In ‘The Spell of the Sensuous’ , David Abram uses the example of the clay bowl to illustrate the magic of the everyday : ‘its very existence as a bowl ensures that there are dimensions wholly inaccessible to me – most obviously the patterns hidden between its glazed and unglazed surfaces, the interior density of its clay body’. What we perceive as reality is only a skin of the true essence of our environment. I want people going about their daily routines to get back that sense of wonder you feel at the world when you are a child. I want to give people time to stop and daydream, to think about the spaces we inhabit day-to day and the role of fantasy in our lives.

Background: I first came across the concept of non-places while researching for the room/space project and consequently began working with the non-space of tram interiors to try and highlight the beauty in the everyday, mundane and invisible man-made environments that surround us. I want to develop this further and make work that sits in these environments.

I have also recently been reading about the Slow Movement – specifically Slow food but also about Slow Cities and am interested in how these ideas around slowing down our pace of living so that we have more meaningful encounters with the world around us can be applied to my field of art and design. I will look at examples of art in the public space – graffiti, yarn bombing, guerrilla advertising etc. artworks that draw our attention to the environment.

Method: I plan to create a series of site specific works around the city of Gothenburg, turning non-spaces into spaces of significance or interest. One method would be to create ‘relics for a non-place’ by spinning a made up/fantasy narrative about a space, turning these sites into fictional places of pilgrimage. I am interested in using augmented reality through QR codes or apps such as Augment and Aurasma alongside the sculptures to communicate the made up stories/legends associated with a certain place. I am not sure yet if the work will take the form of a series of photographs.

I intend to use writing as a ‘material’ as well as method for generating ideas for what my work should be about. I have never used this approach before but I would like to try and respond to a space by writing poetry/fiction and then working from that. I want to spin fictional narratives around spaces. I feel inspired after seeing a piece by artist Remy Dean about a fictional letter found in an attic. How important is truth in art if the story is good? I have also been thinking about the work of Jospeh Beuys – Beuys frequently blurred the lines between art and life, and fact and fiction, by suggesting that what one believed to constitute “reality” mattered more in matters of human action, social/political behaviour, and personal creativity than any definition of everyday reality based on traditional standards of “normalcy,” or social codes of so-called “proper” conduct.
http://www.theartstory.org/artist-beuys-joseph.htm

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Joseph Beuys, Sled, 1969
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Beddgelert – The legend of Gelert the Dog
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Mythical Locations on road signs in Didcot, Oxfordshire (once labelled England’s ‘most normal town’)

Keywords: fiction, non-space, unexpected, joy, magic, holy, narrative, relic, religious art, altars, pilgrimage site, humour, truth…

Primary research choosing sites to work with – Borrow a camera and respond through photography, sketching, and writing.
Examples of non-spaces/low spaces : Underpasses (Banehagsgatan)..Concrete
Industrial area tram stops (Gamlestadstorget)
Car Parks (Nordstan)
Centralstation

Also visit and respond to places of worship in the city – Masthuggskyrkan, Oscar Fredriks Church…

Thoughts that arose in the feedback session: 

  • How do I define what I consider a non-space, which writers influence my POV? Can natural spaces also be considered non-spaces? Consider different people’s perspectives of spaces, non-spaces might not be invisible/insignificant to everyone.
  • Do I have a political motivation for the project, what does it communicate about urbanisation and gentrification?
  • Will people stumble upon the artworks or will I create a guided tour/app for people to discover them?
  • Will my stories be entirely fiction or should I research the history of Gothenburg to base some of the information on facts?
  • Will I work with one site or multiple?

Image sources:
http://www.artnews.com/2015/03/20/academic-artist-scholar-shaman-joseph-beuys-on-his-mystical-objects-in-1970/
http://www.notey.com/blogs/road-signs
https://www.youtube.com/watch?v=PMll6yQaH1A

 

‘Stannar Vid’ – Non-Spaces Final Exhibition

 

On Thursday we culminated the Room/Space project with an exhibition of the work we have produced over the last month. My playful and brightly coloured body of work explores the concept of non-spaces and is an attempt to draw attention to the transitional invisible spaces we pass through every day without being aware of them. In order to highlight this my work was presented in alcoves in the arch spaces of the walls in the HDK’s stairwells, spaces we don’t often linger in but which become complex and beautiful architectural spaces once you start to look carefully.

A collection of 14 hand-built sculptures sit inside four shelf spaces of varying height along the staircases, the steps offering the opportunity to view them from many different angles. During feedback it was pointed out that these forms look like little figures interacting with each other, each with a different personality. The space between each of them gives them a sense of isolation though, which communicates the anonymity and isolation of individuals as they interact in non-spaces. Students pointed out that the forms were familiar and look significant in some way, although they weren’t sure where they recognised them from. Perhaps a well-chosen title could be a key to understanding the pieces. Maybe something like ‘Stannar vid‘, which is the automated voice announcement on Gothenburg trams to tell you your next stop. It suggests the way the staircase is a space for ‘getting to’ somewhere else, not a place just ‘to be’.

 

The colours turned out much patchier than I intended but this nod towards rust and weathering also suggests the wear and tear caused by many people passing through a space day in, day out. I need to work on my glaze application, dipping and spraying would have created a more even surface colour than painting on. I’ve learnt the important of thinking ahead to decoration in the making stage too – the manganese in this dark clay has eaten away at the glaze. The red glaze turned out much pinker than I intended – with more time I would have perfected the colour matches by making more glaze tests.

 

Klara mentioned how she began noticing scratches and paint splatters on the wall which echoed the forms of the sculptures and other students mentioned the key word ‘curiosity’. I believe this display of work has been successful in changing he way we interact with this non-space but equally, by using forms inspired by tram interiors people explained how not only was this space transformed but that when they travelled home on the trams they would be looking out for these forms and textures by searching the other way around. Two spaces transformed in one!

Thanks Will Treasure for some of the photos 🙂

Non-Space and Tram Sketching

For our current ‘Space/Room’ project I’m interested in exploring the phenomenon of ‘non-places’ or ‘non-spaces’. I can’t remember where I first heard about this, but I recall thinking about it after reading Italo Calvino’s ‘Invisible Cities’ and remember thinking when flying from the UK to Gothenburg, how airports are the ultimate ‘non-places’ spaces we move through to get to somewhere else instead of destinations in themselves.

According to Wikipedia: Non-place or nonplace is a neologism coined by the French anthropologist Marc Augé to refer to anthropological spaces of transience where the human beings remain anonymous and that do not hold enough significance to be regarded as “places”. Examples of non-places would be motorways, hotel rooms, airports and shopping malls. The term was introduced by Marc Augé in his work Non-Places, introduction to an Anthropology of Supermodernity.

The non-place differs from the idea of an ‘anthropological space’- a space where people can share a space that empowers their identity, in that non-places are filled with strangers who remain anonymous and lonely. Non-places can also be subjective though – to a group of friends who choose to spend the day together at a shopping centre and the people who work at an airport, the spaces might not be considered non-places. The idea of transience in relation to ceramics interests me because ceramic material is the opposite of transient in its solidity and durability.

My starting point for this project was to visit and document Gothenburg’s Centralstation – recording sounds, photographing and noting down shapes and words in response to the space. Reading Marc Auge’s chapter about ‘non-spaces’ and Mahyar Arefi’s article ‘Non-place and placelessness as narratives of loss’ helped define more concretely what non-spaces are. These places lack diversity, surprise, ambiguity and livability, we are often fed through these spaces in a system by following a set of instructions, signs or arrows.

Travelling back to the university from the train station I felt lost and unsure of how to continue. I hadn’t felt particularly inspired by this place. Drawing my attention back to the present though I realised I was travelling in another ‘non-space’, the inside of a tram. When travelling on trams as I do every day here in Gothenburg my thoughts are so often elsewhere that had I not payed attention, I probably couldn’t tell you what colour the floor, walls or seats were. I decided to shift my project to highlight the material qualities of the interior of trams in the city, making objects that echo and paraphrase the forms, colours and textures of these spaces which usually remain invisible to those inside them. My intention is to display the work in a different non-space – the stairwells at HDK. I move through these static spaces almost every day of the week. In contrast I remain still in the tram and it’s the space itself that moves with me inside it.

I spent this afternoon travelling on trams sketching the forms and textures I could find around me. Once I began looking I realised how complex and mysterious these spaces are. There are so many buttons and levers, hidden compartments and strange shaped protrusions that suddenly these spaces that seem very mundane and unexciting became landscapes of shapes. Later I photocopied and enlarged my drawings, cut them out and collaged them together into abstract machine compositions reminiscent of ‘robot wars’ creations. The next step is going to be to transform these ideas into 3D. I might use paper maquettes to get a sense of the scale needed for the staircase before starting to work in clay…

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