My practice investigates the agency and relations between myself and material, exploring how ideas take root through the physicality of matter. At times, thoughts and actions sprout in an instantaneous and confident manner; however, typically, they are revealed through unhurried musings. The outcomes disclose an intimate, ritualistic, intra-active process. It is a fecund relationship that tirelessly grows through the push and pulls of combined agencies.
The accumulation of familiar and unembellished forms reveals durational time spent through manual, menial labour. Seriality allows for transformation and new possibilities and shows insights that have been prodded and provoked through sustained physical making.
Forms of repetition do not express similarity but, alternately, disclose growth, mutability and self-adaptation. Process and outcome are not separated; the works reveal their established roots within the studio. It is a constant transfer and creation of knowledge through connections made by making, processing, wandering and reflecting.
Traditionally in ceramic practice, the perceived fragile nature of the material has typically determined the scale and installation of the work. Instead, ceramic chains teeter on the edge of precarity, pushing the once malleable material to its point of potential collapse. The experience of installation, including many failures, proved this a testing task.
Chains chime like bells, an incorporeal sound generated only by way of its corporeal materiality. Originally intending viewers to walk through this work to experience this sound, its fragility was exposed, the chime became a violent clang as it shattered on the ground. Thereafter the work was realised differently as the material proclaimed its agency.
