To pursue vessel making. Unquestioned resolve and encompassment.
To apply my technical and sculptural understanding of the materiality of clay, in a way that seeks to find delicate certainty.
To continue to develop my understanding of experimental firings, presence of natural found materials, and, chemical compositions and reactions within these methods.
I will undertake a consistent research practice to establish the foundation that I need to reinforce and develop my studio practice. Research will involve studying historical artefacts, archaeological findings and reports; specifically, those relevant to my environment and cultural surroundings; the unique properties and processes developed from natural occurrence of materials and cultures within communities. Geological and botanical investigations into material properties of landscape; the entire process of finding, excavating, refining and then applying to forms or installations; establishing an understanding of not only the application but the sourcing of material.
The installation of vessels is of equal weight to the vessels themselves. Cradle making. I will work with equal emphasis between the forms and their interaction with their environment. Forcing continually an exploration of installation that is out with my comfortable sculpture practices.
Pushing my understanding of scale and site.
Working in a new country, establishing a new network and understanding of both sculpture and ceramics within these communities. Responding to the challenges, differing environments and approaches that occur.
Seriously consistent unself–conscious dedication.
Experimentation within material working dually alongside consistent development in form, and refinement and application of skills; with an openness to interpreting opportunities of installation and presence of work within environments.
Nature leading the experimentation.
Definitively balance practical studio work, with contextual and formative research and attending lectures and exhibitions of other artists. Allowing the three areas to feed into one another in a way that is maintained and recorded. To map the evolution and refinement of influences and approach.
Recording of thinking through reworking written objectives. Establishing a sculptural language that can identify and clarify my practice. Writing provides a formal framework of communication that will help to ground my working process.
Outcomes of practice evidenced through the sequential progression of work. An amassing of photographs and drawings recording movement of ideas.
Applying focus onto consolidating the presentation and receiving of work. Communicating effectively and succinctly. Continuing to develop the importance of interaction of my work with audience, within new given contexts. Finding professional presentation with activation of installation of work.
Requiring repetition, persistence, solidity in practice, movement, observation, adaption.
I hope to create sculpture that is quiet and thorough.
