Leading on from the concepts that surrounded my primal reaction series I intend to further understand How materiality conditions human sensibility and understanding. How the conscious mind and ever-shifting terrain of memory connect and attempt to understand the indescribable connection man has to material and process.
If art per say is about ideas, then ideas cannot be a populace concept. Populace concepts originate from something that we feel. I am interested in how an edited social consciousness can alter how we configure impressions of ourselves to physical form, how certain shapes and materials make us feel and are transferred into physical interpretation and stimulate sensory intuition.
Is my memory governed by nostalgia, or am I as an artist trying to recapture and re-enact the significance of play and creation as a child? Am I trying to look back into the past and denote feeling to substance or am I Attempting to tap into some form of declarative memory. From this point how do we go about connecting the dots, to link two practices and through process; understand, rationalise and respond to the forms and structures that dominate the memories of my aesthetic experiences. To quote Freidrich Nietzsche ‘The struggle of maturity is to recover the seriousness of a child at play.”
So far within my artistic practice and exploration, my main interests surround printmaking and ceramics; this I find is due to my obsessive nature around process based techniques. Aesthetically I find that I am drawn to the everyday; the objects and structures that dominate our immediate environment, objects we take for granted and overlook such as the sharp curved patterns upon the small rocks and shells you find at the beach, or the crossing tubular patterns on building site scaffolding, as I like to call them – underdog objects. We see these objects and shapes everyday yet undervalue their aesthetic potential and are quick to label mundane or ordinary. Since the dawn of time, we have crafted complex psychological and symbolic relationships to substance, I am no exception.
From growing up surrounded by building sights and working on them from a young age with my dad my aesthetic memory has been dominated by mundane objects and materials manufactured for the sole purpose to ‘build’ or ‘construct’, these objects are relational to my past and are abstracted as a reflection of my life, this is where I explore how experience can be distilled into visible, tactile form. But from this point through ceramic sculpture how do I go about representing these ideas ? to ‘manufacture’ or ‘construct’ my material memories into a clay body and fundamentally when these objects are constructed what dialogue is formed ?. through ‘play’ I intend to explore these ideas through material investigation and experimenting with glazing, slips and found materials, to denote feeling and memory with substance.