Three days of intensive of drawing in order to address the theme of different ranges in the whole collection has brought up three ranges, flow, structure and support, using three colours, blue, red and green respectively
All the colours were chosen in part for their metaphysical meaning. Blue, for communication (throat chakra), red for the mulhadara – root of all support, and green for the heart, the structure of how we enter in relationship in the world.
Flow is my range; no work from the Coventry carers come into this. Blue also because it comes from Unit 10 colour uses.
Red: support. The imagery that was explained to me by the Carers was that red represented weddings. This is a material commitment between two people to support each other over a lifetime. Therefore red.
Green: structure. The carers were heavily influenced by the natural environment in their image-making. The primary imagery that came from the workshops was gardening and the sun.
This green highly stylized flower was very striking for it’s structure and seemed to represent the formality of a garden, hence it’s association with ‘structure’.
This is an important cup. In laying on the sun decal today I suddenly saw my own place in the process of this project; it made me smile to myself.
1. Foundation laid by me (green/white enamel on a manufactured body)
2. Event/relationship (sun transfers from the workshop consultation)
3. Tableau (this layer is not shown here but will be illustrations of my own making).
More echos but at the same time memory and celebration. Private memory and subtle body. Clarity in the surface, in the fixed image. A vision that sets a scene to stand the test of time.
It also echos a strongly held facet of my personal philosophy; nobody can realise your vision for you but nothing worth doing is EVER done alone. Curious.
Collect 2013. Laura Ellen Bacon was presenting in the Project Space this year and as soon as I saw her piece it revealed another echo in my project; layers.
The density of the layers that she shows with the the weave she uses has been internalised, ‘joggled about’ and cooked up to produce the notion of layers in my interpretation of surface. It really struck me. The impact of those two weeks was acutely felt in that simple revisiting.
It PROVES how very sensitive we are to our environments and the longevity and complexity involved in the process of embodiment that making reveals.
The choice of shape is practical. As few complex curves as possible makes the application of transfers much less demanding. The choice of bone china over porcelain is personal. There could be some technical gloss put over it in terms of it’s advantages in taking on enamels and transfers, but honestly? The answer is deeply personal.
It echoes me. As close to taste as you can get in terms of sensation. It is a healing echo because it makes sense to me in it’s innate materiality. The English body, reinvented out of necessity to survive (porcelain competition from China), turns out a altogether stronger body. Good old Wedgwood. The drive forward cooked up in a recipe with intention and redefined.
This brings up all sorts of questions about being ‘made’, ‘man-made’ and to what extent we are all these things. Mine is just a really extreme example but the same questions apply to all of us in our most anxious moments. So,what you can’t answer or were never consulted about you just accept, but Wedgwood, he had a question to answer, just like I did. We both answere(d) it in our own way.
Of course the projection and echo back to me is the healing element that I hold dear and that is there for every artist who uses clay, distasteful as it may be to some of them who hide it in technical jargon. Whatever floats your boat; you can’t kid everybody all the time though. Withhold if you like. It’s a personal thing, as I said.
Lots of flowers! The simplicity of the flower on red belies it’s sophistication and the fact that it is depicted in a pot compares symbolically with the pink and blue blooms of the first image, that apparently emerge from the bottom right hand corner of the page.
My intention was to generate highly textured drawings and this worked because I was careful to choose appropriate papers and media for participants to use. These particular images are of oil pastels on linen paper and have a vibrancy that will transfer well to a pot.
I had no knowledge of the experience of my participants in drawing prior to the workshop and many of them had not put pen to paper since leaving school. They were full of anxiety about the blank page and had brought many photos that they wanted to reproduce. This was UNREALISTIC both in skill levels and in the time we had available. To convey that I wanted them to express their feelings about caring for others it was necessary for me to break it down to three elements, COLOUR, SHAPE, TEXTURE.
What colour is the feeling you have when you look at this photo?
What shape is the feeling you have when you look at this photo?
What texture is the feeling you have when you look at this photo?
It is clear that we were all learning! This is the mark of a successful workshop? 🙂
Of course some of them just would not or could not do it for very good personal reasons I think. They used it as an opportunity to explore new materials and ask me lots of questions about ceramics and my story! Good all round then.
A goodly selection of colours and mediums for people to use.
Surprisingly they were reticent about making use of what was provided, even trying to pay me for the materials they used. That is something I wasn’t expecting, so perhaps I should build that into the structure of workshops for future reference.