In this project I was interested in highlighting the power that objects can have on influencing our understanding and actions within the world. Early memories I had of ceramics were traditional pieces sitting quietly in the background of family settings. Their imagery and designs often overlooked or viewed as purely decorative. I used traditional iconography as a starting point to disrupt surface pattern in order to highlight it and the role that it has in creating meaning.
Developing the latter part of this project in the context of Covid and lockdown restrictions meant that I had to re-evaluate my approach and outcomes. Suddenly, the notion of disruption not only applied to the surface pattern in my work but also my process. Creating in a home setting, I was forced to consider my surroundings anew and what materials I could use to make with. I started to explore tools and food, not for their utility, but rather for their aesthetic quality. I used a variety of objects from my home and local walks to create surface pattern using a burnout technique. In disrupting my process, I was able to see my surroundings from a new perspective, often helping to challenge the mundaneness of my everyday settings during lockdown.
I also wanted to convey the emotion associated with this disruption to my studies within my final aesthetic. Making in the context of Covid often had many contradictory emotions for me. At times I had an overwhelming feeling of confusion, frustration and loss of control, not only in making, but also in general day to day life. Conversely, I also had moments of clarity and being able to see a way forward to make within this context and take pleasure in small everyday moments. I wanted to highlight the beauty and positive aspects that can come from disrupting process and finding new perspectives. I also wanted to balance this, however, and emphasise that especially within a unique context such as Covid, this was fragile, often on the verge of disintegration and constantly in flux.
Flame On 2019
This group exhibition took place after a trip to Guldagergaard International Ceramics Centre. During this trip I was interested in exploring the properties of materials and how they interact and change using different making techniques. I wanted to emphasise the unpredictability of ceramics and the wood firing process and embrace the cracks, drips and marks that can occur when hand making work. I created space in my designs to embrace these “imperfections” in order to add a spontaneity to my overall aesthetic.