Porcelain high relief in drying box 18 x 19 x 11cm
This study has led me to reflect on what I am currently doing both in terms of work and conceptual content. Working small on a large scale idea is not always easy. It is different in the way one part relates to another, everything is seen at a glance rather than experiencing a gradual discovery as an informal circular dance is choreographed around the work. Viewing distances are bodily contract towards immobility as I end up very close to the work, without glasses, in an attempt to restore a large scale visual relationship.
In this work my thoughts have focused on a particular set of notions and shifted from an Apollonian ideal found in the Studies for H to a more Dionysian sense of things. The subjects remain the same and the methodology similar but with its content altered in someway. As always a dichotomy is expressing itself like night and day.
The study has been difficult to accept in terms of its composition but I have learnt a great deal in how I could approach a more ambitious work. This would be many times larger which itself presents a number of technical issues of drying out and weight. I may have to construct a specific humidity box to maintain the necessary moisture content over a prolonged period. Then again covering may be the only thing necessary since the mass of material will keep its moisture content more readily due to the reduced evaporation caused by a decreased surface to volume ratio.
Its implied motion suggests to me an animation in the form of a ‘dance’ that traces ideas underlying the work. In addition it is in high relief whereas what I envisage as a finished work extends in height and may be on a circular base: perhaps a subliminal allusion to old master depictions of the Tower of Babel: an icon of chaos and the hubris of man (and women?).
But what is it I am doing, evoking the weight of generations, the struggle for life, are these metaphors for humanity? This latter question refers to my previous post title, ‘What is the Difference’. This is not a de-humanisation but rather a de-centering of the anthropic view of things. We are part of the whole and not separated from it, a view that has proliferated during the Anthropocene. We are as subject to the same blind and dispassionate forces that brought us about as any other part of nature… with one difference. We have a heightened capacity to change our behaviour. But the individual dynamic is not the same as that of the group and this creates an inertia which naturally tends towards conserving the status quo. Which way things will go is still in the balance; a race against time for the majority of future humans. Extinction is unlikely to be total but annihilation of a large number if not majority of people is certainly a clear possibility.
It has just occurred to me, why am I writing all this down, I have never done such a thing, why post so much since I hold all these thoughts in my mind as I work? One, it provides a contemporary document that may prove valuable in the future: the memory plays tricks and history is constantly retold in the light of the present. Two, writing practice has enabled me to move more rapidly through ideas, build on them, alter them and articulate them more clearly.
What is this, I ask myself? As I made it I felt an unease as it extended its reach physically and formally. The other models in porcelain are clearly zoan but this is different, a hybrid perhaps between animal and artefact, biology and ritual.
And the way I photographed it, suspended by fine cords, gives me an idea for presenting that moves away from the wall, pedestal, plinth, stand, case, cabinet, table top, floor. Fragility, underlined by the immersion in a field of tension, defined by the slender threads, a psychological state between the din of kinetic energy and the repressed quiet of potential energy.
The above series of images is a reminder regarding a recent idea to create 3D animations. I have thought about photogrammetry too which, however, seems to yield imprecise renderings far too often for me to give it the time. In any case , it is all about photographing what I have already made in the flesh, so to speak. I prefer to invent and for this I turn to Blender which is convincingly versatile with high specifications, offering tight control… and it is free.
Once in a while a small disaster happens. This is the first time such a breakage has occurred in one of my firings. This particular casualty is not the culprit but one of the few pieces affected by the exploding work, to be seen in a later post. When such things happen, the thing to do is to not despair. When I heard the muffled thud in the kiln, a smothered explosion with following sounds of falling debris, it was a time for a calm in anticipation of seeing what survived, what happened and, what could be done: an opportunity to try something new.
The Japanese repair valuable ceramics with lacquer and gold. I came across kintsukuroi (golden repair) some time ago and this seemed an opportunity to try the technique. I have done some research and the traditional method using lacquer seems rather laborious. Today’s materials are equally, if not better, suited to the task. With some gold leaf, resin and size I have experimented with this piece. Understanding the principles involved goes a long way to adapting methodology to the materials and needs one has, and this is what I have done.
In addition, the piece warped because of its different thicknesses causing uneven shrinkage. This posed another problem, not all feet touching the ground created an interesting situation to deal with. However, the more I have worked with this piece, the greater my understanding of techniques and refinement of solutions which might lead to new trajectories.
The first maquette for ‘Oracle’ dried and broke up. Removing the wire armature broke the pieces further. Recycling the remnants of the idea, composting them for future use is the usual way. Early humans buried their dead. Where lay the transition point from composting to burial? Humans have thought that somehow the preservation of the body allows it to transition to another domain and built myths and religions on this notion. The idea embodied by the maquette has moved on and evolved into something different. To ritually preserve its remnants is to keep the idea alive for transitioning. From clay to clay: each iteration encased may foster an evolution towards something else.
The box is made carefully with attention to detail: it is imperfect, rough, not quite symmetrical; housing incompleteness, impermanence, transition, and the now absence of what was. Wabi sabi is the embodiment of such ideas. Much of what I have done corresponds with this aesthetic principle, particularly in the case of small works. Subtlety and contemplation are rewarded with a sense of understanding the world in a profound way. The ritual of preserving the maquettes, time consuming, onerous, is a ritual that builds significance. The Confucian idea of ritual through deliberate action and repetition, turns the practical into symbolic action, into physical reality, back to idea into action. If an idea is conserved, it remains alive, if it is alive, it has potential, if it has potential, it can metamorphose. This is one way of my moving forward with what I consider an ambitious project.
I can see how this approach is endlessly expandable and scalable. But would that go far enough in my view? I think not, it would be to alight on one of the first ideas and stay there. That is not the purpose of this exercise which is about deepening and connecting rather than producing in the first instance. However, having said that, I intend to make each stage a document in the journey towards new work.