A Glimpse of the Process

It's been quite a while since my last blog, so I thought you all might like to know how it is going and show the production of my new work.

Below shows the progress for work over a period of about 6 weeks.

First the clay is laid out in large slabs, these are left for a couple of day until they are leather hard.  I then cut out pieces almost at random, pairing them up and then putting them together with slip (watered down clay).

When they have reach the stage below then are left to dry slowly before firing.  Unfortunately the piece in the middle did not survive the firing, this was down to me rushing and not allowing it to dry out completely before putting in the kiln.

The piece at the front just fitted into my kiln, it was interesting to see how much it shrank in firing, about 10%.

      

The picture below shows how I decided how I has going to paint the piece and the balance of colour.  I wanted the green below to almost shine out.

          

I usually work on several pieces at the same time. This gives me time to think out the final finishes and to change my mind.

Arc (2)  H48W85D12 cms

  

    

Crux H72W54D8 cms wall piece

               Arc (4) H50W40D20 cms

The third firing was very successful, everything came out as I hoped. Some of the pieces are fired separately and then glued into place.

Arc(1)  H49W69D11 cms

I had no idea how I was going to make the pieces below, but when I put the components together, I wanted them to appear light & bright.

    

Arc (3)  H66W40D20 cms

Fall D54W26D11 cms
Wall piece

I do hope you have found this interesting and if you you would like any information, please do not hesitate to get in touch.

Around the World Creative Blog Hop Post

I have been nominated by my fellow artist, the bearded and very Scandinavian Martin Olsson of Buxton (http://notestoothers.blogspot.co.uk) to take part in this project, called "Around the World Creative Blog Hop", so without further ado, let's hop in...

(At the end I will nominate three other artists to do the same: answer these four questions in any way they see fit, and publish the answers via their blog; then they will nominate three new artists to do the same, and so on...)  Here goes!

1.  What am I working on?

I work in clay, and the finished ceramic form, after it is fired, is worked on like a painting with acrylics. The surface acts as a canvas and adds an important new dimension to the white shape that emerges from the kiln, adding its final personality. I am open to new and instinctive ideas and do not have much of a preconceived plan. These green markings (below) - apart from being an abstract pattern - allude to the lozenge shapes of medical pills, or viruses observed through a microscope. This gives the sculptural form, an inert object, a kind of "life", in that we are all made up of chemicals that affect our character and moods at all times.

 

Beacon H110W35D26 cms

Line H122W64D30 cms

The above piece was directly inspired by one of Martin Olsson's paintings. Sharing ideas with a community of artists can be surprisingly inspiring - not only for the generosity of support, but also for eye-opening ideas that take your work in new and exciting directions.The sculpture below is all about the juxtaposition of one colour against another and how the effect can alter with quite subtle changes of emphasis or arrangement. It's a continuously fascinating process of discovery.

Stripe H116W58D22 cms

2.  How does my work differ from others of its genre?

The reason my work is different is that, though it is ceramic, it is not in the tradition of clay work in this country. In fact, it is very much sculpture, but sometimes I am perceived as somewhere between the two. I seem to fall between two stools but my sensibility is firmly as a sculptor. My interest is in a simple form and a dramatic line. Recently (as below) I experimented away from ceramic and created a group of wall pieces - but, as can be seen here, they are still very much in my own visual style.

Kinetic Each piece 34x38 cms approx painted MDF

I love experimenting with a repetitive motif, like these spots: they break up the surface, and also cause a kind of clash with the simplicity of the shape, hopefully a dislocation that is exciting and pleasing. It's almost fighting the idea of the form being "safe" and making it a bit challenging - which I like. It's also challenging the idea of anything "traditional" in ceramic terms.

 

Serendipity H70W33D20 cms

Cyclic (Wall Piece) H49W20D9 cms

Strike H43W41D10 cms

3. Why do I create what I do?

It's really the urge to make something that makes me, the artist, go "wow" - and possibly even the person who looks at it: but the first person that has to be pleased is me. It's a visual adventure and I'm never sure of the finished point until I get there. There are no exact diagrams or maps of what to aim for, just a purely instinctive wish to catch some moment of emotion or drama, not depicting anything tangible or representational, but just a feeling that others might experience too.

Emerge H67W44D44 cms

4. How does my creative process work?

I don't prepare with drawings, and I don't start from a theoretical or intellectual perspective - all that emerges later if I'm lucky. For me it is all about the practicality and working with the hands and the eyes. It is better to keep any conscious intention out of the way and let the dialogue happen between you and the material. After a while, if you are a professional and dedicated, that is just a groove you get into and there is nothing quite like losing yourself in it. You can even lose yourself in it too much, as I sometimes do - forgetting to eat or take a break, and getting immersed in the thousands of little marks, as on the surface of the piece above. Sometimes it is a crying shame to come back to real life afterwards. 
 

Pry H93W10D18 cms

Thank you for reading my answers in this Hop! I will now ask the following artists to take me up on my offer, and I really look forward to reading their thoughts!

Louis Hawkins                      louishawkins.co.uk 
Ray Richardson                    rayrichardson.co.uk
Michele Howard Rashman     michelehowarthrashman.com 

Process from start to finish

I am often asked how long does it takes to make my pieces.

I thought, I would share with you the process from the 'clean' studio through to the finished pieces and how they evolve. Nothing is planned when I start, all these pieces could have turn out completely differently depending on my mood.

The time period is from the 14th October until 10th December 2013.

I try to start a new series of work with a tidy studio

The clay is laid out in slabs and cut into a variety of shapes very freely.

The pieces are left and finished until totally dry then stacked into the kiln.

The pieces are taken out of the kiln, I then make decisions on what pieces will go together.

Holes are drilled and pieces put together

Mounts are selected that will suspend the pieces

The pieces are covered with several coats of Gesso and the painting begins.

 

Several coats of paint to get the density of colour needed

Each piece is looked at and decisions made.

After a final protecting coat the pieces are ready to be photographed.

Pieces all lined up and ready for photography

Apogee H54W60D10 cms

Cyclic (Wall Piece) H73W32D20 cms

Eternal H69W30D30 cms

Lunar H48W36D8 cms

Pi H39W59D11 cms

Nadir H44W32D10 cms

Phase (1) H29W40D8 cms

Phase (2) H33W40D8 cms

Across (3) (Wall Piece) H50W14D12 cms

Quotidian H42W64D10 cms

Across (1) Wall Piece H45W17D11 cms

Across (4+5)(Wall Piece) H45W40 cms each