Master of Ceramics
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NB. Views and opinions of students in the degree show are their own and do not represent the views of the University.
The raison d’etre for my work was to further develop and expand my interest in ceramic sculpture. A body of work which is underpinned by an architectural discourse that responds to an active minimalist aesthetic. This interest in architecture and sculpture has been the focus in the development of my practice from the outset, allowing me to experiment with geometric shape, which underlies and inspires ‘form’ and the essence of architectural design, thus motivating my exploration in creating sculptural pieces. A procedure that has generated a dialogue with contemporary sculpture and processed based art practices.
‘The visual minimum can be defined as a kind of perfection which an object acquires when it can no longer be improved by subtraction’, commented Amos Denton in, ‘Narrative Minimalism in Ceramics’.
It is the quality that an object has when each component, every detail, every connection has been reduced or compressed to the essential, consequently it is this quality that develops minimalist sculpture to pure shape.
At present I am investigating porcelain as a vehicle to realise my intention. The inherent characteristics of the material, which by reputation, is largely difficult and changeable, as well as being both variable and fickle of ceramic materials to work with. This material to some extent has in essence restrictions and restraints, it is an unforgiving material; but nevertheless the qualities of whiteness and strength are paramount to its aesthetic.
In this more recent body of work I am discovering how to manipulate this astonishing material. Investigating non-conventional approaches in contemporary clay practice whilst keeping the integrity to my beliefs in reducing the forms to pure abstraction that serve as metaphors for minimalist architecture.