18.11.21

I'm feeling all over the place with this project right now and I need to focus on now and the projects as individuals and not what my work will become as a whole as I think this is throwing me. I had another meeting with another one of my tutors and we had a really insightful and open discussion about my work. We talked about some of the things that would help my ceramic work come into their element and it's something to do with the glazes. The glazes disconnect the objects for me so I want to work with the raw clay as well as transparent and white glazes. White resonates with me a lot more as a colour and transparent will allow the raw material to be more present. I still love the form but want to expand on it more (like in 'GESTALT') as well as the texture as texture isn't something I've touched on yet with the work. We also discussed the work of Nicholas Pope in particular his work 'The Apostles Speaking in Tongues' as it evoked spirituality as well as materially with is something I'm playing with.

I had the idea to incorporate bags into my work and couldn't find a way so I've been playing with bag construction to hopefully bring up something I can work with. The bags are based on Japanese Origami/Bento bags using my hand treated fabric and they are coming out really way. I'm using frayed edges with neat construction to bring my own element into it as contradiction is something I regularly play with and feel they could be extremely sell-able as well and being incorporated into my project.

Nicholas Pope Apostles Speaking in Tongues 1996

Nicholas Pope

Nicholas Pope (b. 1949) is one of a generation of talented British sculptors who acquired national and international prominence in the 1970s and 1980s. Pope was interested in making sculpture that departed from the boxy geometrical object orders of American Minimalism and resulted from a direct, physical and emotional engagement with materials. He worked on both large and small scale, carving wood, chalk and stone, whilst also working in lead and terracotta. He soon became known for his compelling lumpen forms, as well as for his columns and arches. In these works, he explored the precariousness of stacking, using rope to coordinate his sculptures’ gravity-defying logic and heighten the inbuilt tension of their compositions.

Nicholas Pope Yews 1981 (left) The Vicar 1997 (right)