I'm now returning to making after a break during which I have been drawing and exploring ideas. I am genuinely excited to be making inroads into new areas of work, challenging my making processes and creating pieces that I feel a passion for.
The work you see here is in its green state - being assembled and drying out. There has been much to reflect upon and the path to the current work has been full; so full that at times it has become difficult to gain a clear idea of what I wanted to 'say'. The experiences that influence me currently are, not surprisingly, diverse but do seem - in my head at least - to share common ground. Thematically the work is in a general way titled 'Holes'. Brexit, family and friend's health, children growing up and moving on, developing the garden and the factor of just being that bit older have all played their role in developing my vocabulary to make the work.
I feel that the work must be capable of speaking for itself. I have no need to explain individual pieces through titles and it is my hope that when they go out on show people will respond to them with their own language, their own narrative and not require any input from my journey to influence their response. Deciding where to place and at what angle the holes should be has become as significant as any decision in making a painting.
Both walls attached the piece must now lay in the former and dry evenly before biscuit firing and ultimately glaze firing.
You can see that the printed clay is still a feature, I haven't abandoned my previous influences just found new ones challenging me. The holes pierce the surface of the body and exploration of the interior is something I find has always driven me - every container I have ever made has been demanding me to consider what I am looking at inside the vessel. Maybe that stems from something as simple a starting point as the adage knocked into many a child that "it is what is on the inside that counts". Memory is so fascinating a source and subject and so much of our 'truths' are in fact fabrications that we simply want to believe in.
Glazing the biscuitware is now complete and the piece is ready to fire. Again I am using an electric kiln firing with a steady ramp up to 1265C with a 20 minute soak.
This piece and all of the images that follow are all smaller sculptures - about 30cm tall. Their surfaces have been worked through several stages with slips, resists and masking out and so far they have all been fired twice to 1000C. I'm genuinely excited by the painterly qualities generated here.