19 December 2019

Barcode collage paintings in the making. Teddybear and circle.

Ontop of the barcode collage I decided to overlay it with the outline of a teddy bear. Teddy bears, the representation of childhood memories. The outline is used to evoke this memory. I did this as I want to carry on with the theme of childhood innocence and contrast this with barcodes. Barcodes for me can appear to be useful but in some ways can take on a sinister meaning depending how you look at it. It can represent our current society, commerce, storage of digital information such as products, services even people. Sometimes it appears people can get treated like numbers in a commerce machine called our current monetary system. I wonder, are we not humans with individual personalities, emotions, ideas, potential. I sometimes wonder were this fits in or placed within our current society. I think as a creator creating artworks I find it curious observing the world around me and observing or reinterpreting it. I think it is important for me to question the world in which we live in, it helps me to try and understand it and bring my own perspective to it.  

This is another smaller barcode painting that I am currently working on. This time I have used a circle to symbolise crossing into another space.

I have a curiosity of what happens when we die. My personal experiences has helped shape this curiosity. The memory is powerful, something that I can not shake, it occupies the back of my memories, I am constantly reminded. I feel at peace, I feel sad, I feel joy, I am reminded how little I know, I want to know, I want to believe!

27 October 2019

Bar Codes. The fabric of society! A new painting in the making.

Sorry I painted over someones painting! Don't worry it's not an original, I think its one of those machine made paintings. I picked this one up from a local charity shop, its amazing what you can find in these places!

Cutting out paper bar codes and layering them together onto canvas. 

Now you see it and now you kind of don't. I then applied a glossy white paint over the top of the bar collage. 

I am continuing to work within the theme of barcodes, there is something that keeps pulling me back to them. I guess it's because of its ever functional presence in modern day society, its association to the exchange of products, storage of information. For me this represents the society we live in and it also gets me thinking about my place and value within society. There are a lot of associations.

New spherical ceramic wall sculptures in the making

From a humble sphere freshly thrown on the potters wheel. 

To not one but more than one sphere thrown on the potters wheel and literally thrown near enough on-top of each other.

The resulting combination of spheres.

Cutting the sphere forms in half so i can attach it to a base.

Some tools of the trade, a handy knife and tape measure.

Two other sphere sculptures in the making.

Lately I have been working on four new ceramic wall sculptures. As most of my sculptures are usually free standing I was interested in working on some new wall sculptures. 

They are all made from spheres thrown on the potters wheel. However with two sculptures I decided to continue with experimenting with ideas started in Hungary during the symposium I undertook in 2019. This processes consisted of throwing down freshly wheel thrown spheres on-top of each other. The results are interesting as each sphere pushes and distorts the sphere next to it. A very fresh approach to creating the sculptures.

The other two sculptures follow my traditional approach of letting the wheel thrown spheres firm up before they are cut and joined together .

The next stage is to then cut all of the wall sculptures in half so that I can join them to a base to be wall mounted.

I am interested to see were these wall sculptures lead, there is so much possibility in working with a single shape and combining them together. 

3 October 2019

The National Museum of Cardiff UK. Exploring some of the ceramic collection.

What is inside the National Museum of Cardiff UK?
Recently I had the opportunity to visit this museum and check out some of the ceramic collection. Defiantly a must see if you are a fan of all things ceramics, from sculpture to functional tableware. I spent many days here when I was studying and it is still inspirational. Thank you to Wen-Hsi Harman for helping me to record this video. Hope you enjoy the video.

For further information about this museum please see: https://museum.wales/cardiff/

25 September 2019

How to create an artist book?

How do you go about creating an artist book? Many questions and not many questions answered. It is my first time doing this and I have a lot to learn. Luckily there is the internet, Youtube and Podcasts and Dan Lok for self leaning. Hoping to get this dune ready for my solo exhibition Crossing Space at HOURS (1st 21st of November 2019) in Bristol, UK.

I am very grateful for Dan Lok's marketing advice. If you would like to know more about Dan Lok feel free to see his Youtube Chanel at: https://www.youtube.com/channel/UCs_6DXZROU29pLvgQdCx4Ww

20 September 2019

2019 Symposium, International Ceramics Studio, Kecskemét, Hungary 15th August-6th September. Kapolna Gallery Exhibition 5th to the 17th of September 2019

 Artists works exhibitied at the Kapolna Gallery

Tamara van San. Belgium. Red serpent

Simcha Even-Chen. Israel. Folding in Motion 1

Rejka Erika. Hungary. Atmenet

Martin Harman. UK

Nema Julia. Hungary. A4

Strohner Marton. Hungary. Collection P. Raw Celadon

Polyak Janos. Hungary. Tajkep I-III. 

Husz Agnes. Hungary./Japan. Harvest I. 

Monori Anita. Hungary. 

Margeaux Claude. USA. Cup

Artists who participated in the residency

Wen-Hsi Harman. UK

Beatrijs van Rheeden. Netherlands.

Chloe Dowds. Ireland

Video taken form the Kapolna Gallery Exhibition 5th to the 17th of September 2019

10 September 2019

2019 Symposium, International Ceramics Studio, Kecskemét, Hungary 15th August-6th September. Kapolna Gallery Exhibition 5th to the 17th of September 2019

Ceramic sculptures: (Stone effect) the artwork on the left. 3/9/19, H31 x W29 x L26, stoneware, slips, wax, fired once to 1230c. 

(The flies eggs) the artwork on the right displayed on the wall. 3/9/19, H10 x W24 x L24. Stoneware, slips, wax, fired once to 1230c.

The beginning of an end! 

It's very nice seeing the exhibition come together after all of the hard work. It's interesting to see how the sculptures interact with the space they are in. Originally I made three ceramic sculptures and from this the organisers selected two pieces. I am happy that the organisers decided to display my spherical sculpture as I was not sure they would select this but it is good to see that they did and their decision to display it on the wall. 

As I only had a short time to create my work, I did not think I would have the time to create three sculptures. I focused all of my attention in the beginning of the symposium on making two sculptures. I wanted to create something complete to the best of my ability. However when I finished making two sculptures I realised I had the time to create a third one seen on the wall. I decided I would not be so meticulously strict with its creation. Therefore I was more experimental as I was safe in knowing that I already had two finished sculptures.

Thank you to the organisers at International Ceramics Studio, Kecskemét, Hungary for organising the symposium, for inviting me and putting on an immersive thought provoking exhibition.

4 September 2019

2019 Symposium, International Ceramics Studio, Kecskemét, Hungary 15th August-6th September. Finished results.

Wax on. 3/9/19, H21 x W29 x L26. Stoneware, slips, wax, fired once to 1230c.

Stone effect. 3/9/19, H31 x W29 x L26. Stoneware, slips, wax, fired once to 1230c.

The flies eggs. 3/9/19, H10 x W24 x L24. Stoneware, slips, wax, fired once to 1230c.

Three ceramic sculptures finished.

Before I started this symposium my intention was to challenge myself by being more experemental by creating new forms which then led onto looking at a diffierent approach to applying colour. I realised that looking back at other symposiums and residencies I have taken part in, it has always put me in the position were I am takern out of my comfot-zone. I have to embrace being comfatable with not being comftable. I have to adapt to the new enviroment, new matearls that I have not used before, and usually a short time shedual. It can be intense as expectations are always high to achieve the best results, and with this symposium an exhibition of the final outcomes is required so that puts some more presure on.

The results produced at this symposium have provided me with a lot to think about. The is a subtle quietness and simplicity to these sculptures, the clay and materials seem to reveal themselves in a natural way. As they are unglazed the eye seems to be drawn to the simplicity of the form. The colour seems to enhance the way the form is seen, braking up the forms in a way that is on the surface. The colour is like some kind of packaging to the forms, providing another way to examine the shape and space. 

Looking at this new body of work has got me thinking about new explorations of forms and colour that I could consider for future works. 

25 August 2019

2019 Symposium, International Ceramics Studio, Kecskemét, Hungary 15th August-6th September. Ceramic sculptures waiting to be fired.

Throwing cones and spheres on the potters wheel.

Joining the shapes together.

Different shapes assembled to create the overall forms.

Applying the coloured slips with a paint-brush.

Burnishing the colour with a metal spoon to create a shiny surface.

The completed forms ready to dry and be fried.

A full-on 10 days of making. Not a lot of time for other things like social media until now. Time has flown by quickly. I think like other events like this the schedule really forces me to work fast. From the start of this symposium I really have not had any time to think much about my actions, I have had to put my mind-set into constant making to meet the schedule deadline. This symposium is on for just over three weeks, so that is just over one-week making, one-week drying and firing, and the remaining days finishing and setting up the exhibition.

I used a white stoneware clay from Hungary to create the forms that were created from wheel-thrown components such as cones and spheres that were cut up and joined together. Coloured slips were applied to the outside, then polished with a spoon.

I am just going to let these two sculptures dry before putting them in the kiln for a single firing to 1230c. Again because of the limited time I am doing a single firing as I do not have the time to do multiple firings like I usually do. The process is quite similar to the making process I used in Germany.

The plan with these two pieces is to display them on their side so that the eye can observe the inside as well as outside of the forms.