'Capturing Movement' experimenting with different approaches and techniques to create Expressive Sculptures.
I like to push the boundaries of 3 dimensional form, in Porcelain, Black Clay and, of Structurally uplifting, GT clay to create an Abstract Ceramic Sculpture.
As my starting point, I use hand sketches for 3D ideas. I, then, explore a variety of forms working with the individual properties of the material. I work quickly in order to maintain a level of fluidity and spontaneity, often beginning a project with an aim to finish after a certain amount time. Later, I will further develop and work the piece as it starts to dry.
The relationship between the objects, hierarchy, contrast and the negative space interests me. A build up of more than one component that creates a harmony with the piece.
I seek the creative accident and express through the haphazard form. I like to vary the finish, both in Matt and Reflective Glazes that will help the form create an exciting result that arouses a reaction. I have been cultivating my interest and experience by exploring a whole variety of different aspects of ceramic sculpture. From Organic Vases, Ornamental Vases for the exterior and Sculptural Centre pieces to Tall Bark Stumps, Candlesticks and Bowls. All the while, working hard on the finish and final projection of the piece in order to achieve a sharp professional quality.
I am inspired by the Futurists, Picasso, American Expressionists (Particularly Clifford Still and Paul Nash, among others). The clean lines of Rossenthal Porcelain and the smooth finish of Georg Jenson Designers, Henning Koppel and Vivianna Torun Bulow. The Italian Silversmith, Lino Sabattini, Ceramicist, Piero Fornasetti and Alessi Stainless Steel designers, Richard Sapper and Nigel Coates, have also been highly influential. Contemporary Ceramicists such as Gabriella Koch and Ashraf Hanna. Furniture designers Charles and Ray Eames whom I met and Tom Dixon to name but a few.
Nature is an important vision. The sea, the alps and land formations across Great Britain and many parts of Europe have been a subconscious influence and are now Paramount.
I have had three Solo Exhibitions over the last few years titled, 'Capturing Movement in Ceramic Sculpture and Painting'. This was a new direction after doing commissions over ten years of Bronze Portrait Sculptures of Groups of People amalgamating them into one composition. Previously I worked with Architects as an Interior Designer for over eleven years in London and Europe.
I wanted to express myself more spontaneously and having been to art school in my teens and completed my Heatherely's Sculpture Diploma in 2001-3. It seemed the natural progression. There are many techniques, styles and glazes to try and experiment with but I feel that this has always kept me on my toes and allowed me to keep a fresh inquisitive approach.
The use of a variety of different clays and processes enable me to make uplifting forms that create a volume as a negative space to capture movement and light through the sculpture.
I use porcelain paper clay to create light and iridescent organic shapes. I coil to give strength and scale and then lift the form and add layers when leather hard to give the final expression of movement. I create tall elegant vase like structures around a form using either a tube or metal armature. This gives the clay support while I build around it and allows me to mould it into a smooth, attractive shape.
I create in pairs or a group to develop the relationship between objects.
GT clay is another material which I have explored because of the strong, stable structural properties which are perfect to scale up the pieces for gardens and other outdoor uses. It is more resistant to low outdoor temperatures and adverse weather conditions. I have been experimenting, refining the shape to its finest form to achieve maximum fluidity, while maintaining the structural integrity.
After the first firing at 1000C, I fire with different high and low glazes to achieve different effects and colour qualities that enhance the sculptural shape. High glazes of various compositions fired to 1260 to achieve maximum vitrification and strength of the piece. I have been experimenting with low firing glazes that result in freshers and more vibrate colours. I have my own electric, old school Kiln, front loader, that allows me to fire pieces up to 70cm high.
Lately, I have been applying Slips when leather hard to create a matt finish that absorbs light, and then possibly, high firing with other glazes to give a deeper quality to the piece.