The garden has been done with “ordinary architects” who worked with Gracen perry.
Treats clay as a medium , lack of control and all about feelings
Talks about work and how it is illustrative.
Talking of Jim Malone , form and ewens he mixed porcelain and stoneware together and oxide , let the work make itself
Sarah raisin the piece on the wire is really interesting.
Kerry Jameson the pieces that look like animals
My favourite piece (the head) reminds me of a piece that I dug up when young in the eves of the house from the cellar. I see my house as a child. The head is from 1945-1949 an unknown artist
I feel we get lost in who’s who and not what what isn’t it about what we feel and the work not who it’s done by and about them? Shouldn’t the work say everything ? Communicate or is it about fashion ? Who in, who’s out?
Anthony speaks of edges and it resinates with me as I use the edge of my work to communicate.
How much I take off or keep, the fragility of how it can be broken and needs to be handled with care and consideration which we do not do anymore.
We try to box people up and put into categories and when things are broken imperfect they are discarded and thrown away.
I do not believe in these ways of being. I like to use thrown pieces of wood in my work as plinths and also embrace the idea of breaking and fragility.
I want my work to be inclusive to as many people as possible and feel my work is going to ways. One way is inclusive and looking at making work more inclusive, the other is political as I am not only living with politics being more present in my life but feeling stronger about how as an artist it would be good to use my Meduim of Clay as a narrative to express these feeling. I have ideas about this I will sketch.