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And with all this Time, What have we Done? 2022

Locally sourced fired and unfired clay, found objects.

 

The yearlong studio space based in Kingston upon Thames had a large collection of found objects, altered industrial items and ceramic sculptures with locally sourced clay.

 

In the far corner of the space is a large pile of material- all of which has been collected throughout the year and used in other work or experimentations. The intention was to present an archival arrangement of the experience in Kingston, showing the different materials found in skips, fly tipping’s, shrublands. Included within the space was some of the mechanical items which had been used to process the clay- as it was such a long but informative process it needed to be included in the last show. And so, in the inclusion, a linear path was created from studio practice to exhibition space- presenting the link between the processing and making. Some of this material had been used in previous shows but in different arrangements and contexts however within this space they merely act as an archive of the experience.

 

In the foreground of the exhibition, large spiked ceramic sculptures are placed around the floor, some sculptures are shown to be broken and cracked- exploring the capacities of the locally sourced clay as it was volatile to use. Heavily interested in the processes of material, especially the slow degradation of the ceramics as they break from movements and gravity. This development needed to be shown within this space, the sculptures couldn’t have been glued back together as the process would become annulled and the material impurified. The shape of the sculptures was inspired by organic areas that sit adjacent to urban areas. It is the contrast of spaces, the harsh uniformity of urban architecture with the organic disarray of nature.

 

Surrounding the space is unfired clay that winds around the floor, piling up in certain areas where ceramic sculptures rest. This path became a physical connection between the ceramic sculptures, while actively showing the previous states of the clay- pre and post process and firing. This path shows the ephemerality of the clay which is used, that each level within the ground holds different minerals which affect the colour, but also the fact the path can be swept up post show leaving no trace of its existence.