Locally sourced fired ceramics, land.

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The concept behind the structure came from observing marshlands and farmlands, where bulbous chunks of grass met the smooth reflective surface of water. The contrast between the two forms led onto thoughts of portals and false spaces found within reflective surfaces. 

 

Using clay sourced locally in Kingston Upon Thames, the form is hand built using the coil technique. On close inspection, the surface of the sculpture shows immense texture, as the clay shows the sign of process- each finger mark, scratch and scrape. This textured surface becomes a contrast to the smoothness of the inner holes, as negative space is then emphasised within these gaps- referring back to marshlands. 

 

Once bisque fired, the brown clay transforms into its vivid orange hue. The sculpture was then re-situated locally in a local park in Kingston, the intention was to connect the clays journey from the ground to the kiln. The re-situation took the form into different marshlands, associating the structure with local landscapes- challenging the structures capacity to relate to its surroundings. These photos explore the workings of placing the sculpture into nature to continue to contextualise the form- considering the clays original extraction and displacement.