My work explores ceramics as ontology, clay as a nature of being. The aspiration of my research is to value the inter-action between maker and material, as communication, in so a decoding of material linguistics. I work from the premise of Orientated Object Ontology, where there is an equality between human and non-human at the place of haptic exchange.
My investigation engages with metaphor and creativity, as reflections to our human symbioses within material culture. My practice evolves from generating research at the epicentre of making, in the flow of the potter’s wheel. Recognising this place of exchange as a liminal space, a zone where pre- cognition and cognition blend and merge in a dance of agency. I read this entanglement as a place of poetics, where the magic of dialogue emerges.
Predominantly I explore with porcelain, for its memory and kindship to human skin. In search of dialects, I also work with a broad pallet of clays, surfing the myriad of haptic stimuli. My process is intuitively, meditatively, I get in close to the thrown vessel, into the threshold, of what Philip Rawson calls ‘the gap between life and art. The physical tracks, groves and vessels of entanglement, form the impressions of larger vessels, created in a responsive, intuitive immediate assemblages.
This exploration test’s aesthetics, expression and the metaphorical values of assemblage vessels reflecting on the hybrid of Art and Clay. My vessels dance in the making with haptic and word, in a fusion of being and time. The final forms are crystallised at top temperatures with agency of reduction gas kiln. In so freezing, tempering moments within droplets and pools as vibrant matter. My aim is to contribute, to the current dialogue of the value of ceramics as a research vehicle. Through deciphering the conversation between maker and material and capturing the process as material poetry.