Updated: May 3
Following my tutorial with Oscar last week I had thought more about what it is I'm specifically interested in and worked more on refining my ideas into a concept.
I bullet pointed ideas under themes central to my work:
Discussing with Bridget what I want to do following my MA, I'd be happy going into studio pottery - making and selling my work through galleries and exhibitions. She suggested I look more into interior trends, of which maximalism is making a comeback at the moment.
Narratives - if I am satisfied by drawing in my sketchbook and don't feel compelled to draw on vessels and clay then I should park this idea for now. I like the concepts id been exploring through illustration but I don't feel a need to continue looking at these from an illustrative perspective. I could combine my ideas and explore my twin narrative from a textural perspective, creating a smooth and a textured surface that merge together somehow. Or, could decorate a flat sheet of clay, then moulding it into a vessel and distorting the shape - seeing how this impacts the image.
Having a more subtle meaning to my work is ok but I need to find a way for other people to understand or connect to the work. Make the theme/concept more obvious to others viewing the work.
If want to explore human connections and textural works could looking into artists such as Tessa Eastman who translates skin conditions onto ceramics - exploring an idea in a way that other people can see and relate to. Bisila Noha's work in the Body Vessel Clay exhibition is similar to this as she explores a narrative with deep meaning in her own aesthetic. I need to analyse what in doing and how I'm resolving it to lead to the development of my own aesthetic.
- Come up with an idea/key theme: containment? connection? touch? etc.
Can look at others work and make renditions of to see how I can use elements in my own work, e.g. colours and how this would have meaning in my ceramics.
Following my tutorial I began thinking about what key theme I am most interested in that strings most of my work together. I've always liked things that relate to people and people's experiences of the world, creating things that people can look at and relate to or project their own experiences onto to connect to my work. I am also most interested in making with a deeper meaning, not necessarily complex but having depth and reasoning in my makes. e.g - in my BA I created 4 different narratives surrounding characters that each member of the population could relate to in one way or the other, and in unit 1 I explored my Jewish ancestry to create a representation of my own connection to the Jewish faith.
I enjoy creating works that aren't trying to be something else and hold a raw truth in their 'messiness'. Oscar mentioned that it looked like I was looking at anti-skill, which wasn't my intention entirely. I still want to create well constructed works that employ skill and show professionalism, but not completely refined works that scream perfection. As a perfectionist, I find it extremely liberating to create rough finishes and distorted forms. It challenges my idea of what perfect is, especially within ceramics where Leach's pottery is often what is considered elite. By creating textural surfaces and distorted forms I can reflect within and created personified vessels that show human feeling and emotion that viewers can empathise with or feel some sort of understanding and connection towards.