Maybe this is just a side effect of the cold rain hitting my windows, but I really appreciate the way fire appears to have left artifacts of itself behind in the finished products. It’s an obvious recipe, clay and fire, but it’s so plainly seen on these works. Many of the forms have tissue-thin layers, shearing apart like shalestone. Others show the glaze splitting and cracking. I’m reminded of the way paper burns, the way it flakes apart before finally turning into ash. The glaze looks like paint still clinging to the walls of a burned house. Heat is so present in these works. It’s a wonder they aren’t steaming, even as they sit in the gallery. Rafa Perez – Copyright © 2016 C-File
Perez`s work is certainly distinguishable, his ceramic sculpture, material use, and techniques are rather unorthodox with regards to traditional ceramics, yet, this is what undeniably makes his sculptures so unique. Perez’s sculpture looks as if they have been dug/pulled from the ground. The layers within the body are reminiscent of the layers of sedimentary rock that we see on geologic television documentaries or we tend to see at the beach or within traditional seascape paintings.An emphasis on material tension and exploration is incredibly apparent.
Perez’s sculptures remind me of the work of Ewan Henderson, perhaps this is due to the irregular textural qualities of their work and naturally occurring phenomena both artists are interested in, thus tend to communicate. Unlike Henderson, the selected sculptures of Perez seem to project an absence of colour, a coldness; which is interesting yet ironic due to the high firing process the sculptures are exposed to. The combination of earthenware and porcelain clay body’s fracture, melt and become one, hosting and projecting the process they have undergone, giving emphasis to the unstable nature of ceramics that many people do not experience.
For myself what I find particularly interesting with regards to Nagle’s work is the use of striking colour, unique form and how ultimately the sculpture comes together to create an interesting yet obscure composition, a story between texture and miniature structure.
Many of the colours Nagle uses are incredibly artificial. There seems to be a stark element to them, they seem earthly yet familiar. Below the outer structure looks representative of corroded limestone, the black glaze looks like oozing hot tar. Nagle’s sculptures are so familiar because they are so representative of materials that we see in the everyday.
Although Nagle’s sculptures are strikingly small they command space and stand bold.
What is immediately fascinating for myself is the relationship between Kapoor’s mirrored exteriors and giant mounds of clay. How the two materials work together to tell a story and create a material symbology.
Coming up to finally putting together my exhibition What is important for myself is how the language of these objects together speak, how in the gallery format they fit and by these objects being together what as a viewer does it mean to yourself ?. Kapoor has done this incredibly well. The surface of these sculptures contrast the polished mirrored works, they function as explorations of depth and interiority, they indeterminate our sense of dimension.
From visiting the museum today I stumbled across one of Richard Deacons giant ceramic sculptures and couldn’t help admire and study the piece. As one of my favourite artists I couldn’t help but consider why the ceramic object was beneath these set of stairs ? was there a specific reason for this ? or was it simply for aesthetic and decorative purpose ?.
It made me consider that sometimes the most obscure of places for sculpture can work the best with relation to surroundings and hidden curiosity.
Either way, this is the first time I have witnessed the artist’s ceramic work up close in person and find the work both amazing and structurally powerful. the sheer scale of the object and the beautiful multi-colourful glaze that the swirling construct is consumed by are brilliant. The work stands bold and strong and works effectively within its museum surroundings.
Last year I visited Londons design festival at the V&A and came across some of the beautiful furniture developed and produced by designers Fredrikson Stallard. As an aesthetic and conceptual artist, I feel it is just as important to admire singularity within furniture as it is important to admire within painting, sculpture or performance – within its own right the sofa is sculpture.
The designers have captured the tactile nature of brutalist organic form perfectly emulating materiality ‘ molten rock’ and inviting and challenging the element of touch with the regards to unconventional furniture and form.The Forms individually are a celebration of experimentation and rigorous design.
Price is someone who I have been profoundly interested in coming towards the end of my degree, he is best known as a sculptor of abstract and biomorphic ceramic forms. The surfaces of Price’s objects are so complexly chromatic and expertise they exist only in his sculptures. By being so jarringly compelling and unique they challenge the viewer’s concepts of beauty itself.
In the exhibition on show laid out on 4 plinths are about 24 of price’s works, the exhibition focuses on the artists career in ceramic sculpture.What I am particularly interested in is how the work has been exhibited within the LA space. Together on 4 large plinths, the objects command space yet although they are separate ( separate plinths) they create a relationship, the sculptures contrast and work together to create an aesthetic distinctiveness, that is undoubtedly prices unique work .
I also find the slight elevation from the floor incredibly effective. how something so simple can enhance the element of display
Within this exhibition ephemerality is central, the sculptures are designed to crack and crumble naturally.Within the installation nature has reclaimed and transformed the gallery space. The floor is made from soil and the space that surrounds it is littered with both natural and manmade objects created and found by the artist, For me this makes the ephemerality a little more profound, how language between the objects overshadows monumentality and time. With their crude physicality and cracked surfaces, his sculptures simply exist, they are redolent and through ephemerality ruins.Rojas sculptures delineate a departure point from the manmade to the synthetic world creating a relationship between the earth, objects and space.
Rojas has made me consider how the context of space materiality could influence or direct my sculptures, to create not just a language among themselves but a language with space and further as a whole, with the viewers.