Intuition, sensibility and extruder parts

moving forward from my original extruder tests what I began to be interested in is how  I interacted with clay as an intuitive material ( something I briefly touched on at the end of last academic year), to start with a specific point such as a newspaper ball and to see how the object could manifest and evolve. This gave me a starting point, a set of rules in which I could exercise, play and control my sculpting. The object itself would manifest from a number of circumstances, such as texture, the plasticity of the clay and the imagery around my studio space; intriguingly that imagery (as seen in the background of the image at the top) mainly consisted of microscopic imagery and colours, imagery that has undoubtedly unconsciously or un-awarely fed through into the sculpting of these objects. The only constraint or controlling element with regards to this exercise is the component of the starting point itself, of the ball.

Finding the nature of these sculptures limiting and unsure of the direction they were going, I began to rethink my ideas surrounding memory, materials, and sense of place. Thinking about my childhood, memories of building materials and more immediate memories of working at places such as the farm in Gloucestershire over the summer. This then led me back to think about more immediate, industrial and mechanical ways of producing sculpture, historically and literally. This, in turn, led me back to using extruder parts. Rules at this point became important, this extruded element added a further set of rules which dictated and controlled the shape of the object. The problem for myself at this point as previously discussed is that from implementing rules the objects became preplanned rather than intuitive.

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putting the extruder sculptures to one side, over the next few weeks I began concentrating on material experimentation. I went back and considered my original series of tests, how I was interested in the way slips and glaze can consume, redefine and become the object. How although consuming objects in glaze and slip didn’t necessarily correlate to my past per say, it was the immediate memory that was important, how the presence of that previous object was captured within the oozing slip. I began to think about how I could correlate memory and glaze. Looking into dark orange/brown matte crack glazes to correlate with the dry earth in the summer on the farm, a further representation of my memories and a specific part of time, further nature represented through time.

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