Work in progress and forthcoming project

Current work in the studio, focused on enclosed plates, is evolving gradually. The imagery used as source material explores the numerous stuffed animal displays in Alberta, Canada. I'm exploring ways of approaching the ubiquitous plate form as an appropriate format for portraying and 'commemorating' the animals. These vary between being completely enclosed, with a convex curve or slightly raised area on the front, to cut out silhouettes of animals on a flat surface. Many of the plates appear back to front; inspiration coming from an antique 'tongue' plate in my collection with a raised area in the centre. Another plate I'm interested in just now is from Royal Doulton's Series Ware, and shows a photographic image of Lake Louise, Canada. The romanticised vista portrayed is from the region I'm referencing with this work, in which I am also making reference to the landscape. 


This week I will be starting on a piece of written work; I've been selected to write a chapter (co-authored with Kevin Hannam) of an edited book focusing on differing approaches to art, travel and tourism. My contribution will focus on this current project, and will offer a creative individual interpretation of taxidermic collections in Alberta through ceramic artwork. Its an exciting opportunity to be involved with this prestigious project, and a change to revisit earlier research into tourism. I'm looking forward to working on this chapter in conjunction with the artwork itself. More to follow!




A photography session is planned; new images coming soon!

Alberta project

For the first blog of 2012 I thought I'd include a few images of the most recent fired pieces. (Slowly) returning to work after the Christmas break, and making plans for the year ahead...Various projects planned and applications underway, so watch this space!

Biennale de la Ceramique

I will be exhibiting at the Belgian ceramics biennale next year, with two of my 'Collected Animal' pieces.

Ceramics Biennale of Andenne, Belgium
May 27th - June 3rd 2012
www.biennaledelaceramique.be

Alberta project continues

I've included some images of work in progress, currently under way in the studio. It shows more enclosed forms, this time plates, at different stages. These are the pieces before the decals are applied to create the final layers of images and text (the decals are shown separately before being cut out and applied). I decided to revisit the plate format for these pieces; they reference animal collections in Alberta and are in a sense commemorative plates for the different native species.

The pieces will go in for their third and final firing this week, and will be documented soon! It is a gradual process, as the surface imagery is built up on the handbuilt forms over several stages. 

Forthcoming exhibition

I will be exhibiting in a special one off event next month, along with other artists at a venue in the West End of Edinburgh. Organised by glass artist Keiko Mukaide, we have hired a space in the Caledonian Language School for a three day festive event. There will be glass, ceramics, jewellery and textiles. Everyone is welcome to visit, details below! Refreshments served on the Thursday evening preview. There will also be a raffle with a chance to win a bottle of whisky plus a hand-blown glass.

Alberta project

The development of new work continues; this draws on source material gathered in Alberta, western Canada, in the summer. Continuing with the animal collection theme, this group of pieces references a particular collection of stuffed native animals viewed in an outdoor accessories store in Calgary; Bass Pro Shops (a North American chain of stores). Like the museum collections explored in earlier work, these animals are fixed into 'appropriate' poses, carefully displayed in naturalistic dioramas. The landscape is indicated in the displays, with fake rock surfaces, trees and painted scenic back drops. However unlike the museum animals, these have not been stuffed and mounted for the purpose of informing and educating the audience; rather purely commercial reasons. Hence a dilemma is created; should the audience enjoy the display and the opportunity to see the animals up close, or should we disapprove on ethical grounds? (According to anecdotal evidence, it is likely that several animals were shot to create one authentic complete animal for display). It is this ambivalence and complexity that is of interest. Hunting is an integral aspect of the region for locals and tourists; but as an outsider how much is it appropriate to criticise or comment on particular activities? 

The work developed presents the animals, frozen into their poses, contained within the frame of the rectangular or square form. The landscape they originally came from is referenced as a scenic backdrop. The context of the stuffed animals is only slightly apparent; they are reintegrated into the scenery, reduced to silhouetted form or translucent photographic image. They appear to be an integral part of the landscape to some extent, and yet something is slightly off-kilter. Subtle visual clues refer to the backdrop of the shop and its displays. Like the earlier pieces, these are wall pieces, simple flat, hollow rectangular forms developed to contain pictorial elements. The text refers to a slogan used in the shop ('More outdoors for your money').

This work marks the beginnings of a return to tourism related subject matter, but a continuation of the animal collection theme.

Some of this work will be exhibited soon at Byard Art, Cambridge during their Christmas show. 

http://www.byardart.co.uk/

Biennial visit

Although my blog focuses on my own ceramic practice, after a visit to Stoke I thought I would include a few brief comments and images of the British Ceramics Biennial. Located in a variety of venues in Stoke on Trent, including the old Spode factory site, it offers a broad survey of contemporary ceramics. Particularly of interest is the breadth of objects that fall under the umbrella of 'ceramics'; within art, design, research, education, and industry. I have to admit that I have become increasingly critical of ceramic/craft exhibitions. However I felt that the Biennial really showcases the possibilities of ceramics for creative or industrial use. The Spode factory couldn't be a more appropriate context; and I would recommend a visit! Particular highlights are Philip Eglin's pieces and the Airspace Gallery's collaborative experimental project. 



www.britishceramicsbiennial.com