Line of Investigation

I discussed my summative assessment for my first studio practice module with Pete a few weeks ago. It  was clear from the discussion there were a lot of lines of inquiry to explore. Simply by extruding, cutting and joining there are endless opportunities for constructing forms and occupying space. The module was far more difficult than i had thought it would be. It challenged my reasons for making and creating, what was my intention for making objects, was there a narrative, what did I want the audience to get from my work. These were all challenging questions, I found it difficult to isolate one subject or narrative. I am not interested in exploring a language with narrative but more what arises from experimenting and building forms, the ACT of making is very important to me. I a recent group tutorial with Claire Curneen another student asked me what my work was about, my response was vague 'visual metaphors for the human experience'. My response made me rethink. Claire asked what was important to me when making, a very straightforward question but one i had not been asked before. It made me realise that although I had been exploring the concepts of life and death, monuments, human experience and Being THE most important element of working with ceramics for me is the ACT of doing so, the process for me is a meditation, DOING is an important part of my Being, it shuts out the noise and allows me to feel free from the mundane everyday activities . The resulting product may well present forms that can be interpreted but I am not interested in creating literal responses. Claire reminded me about something that Pete had discussed with me earlier in the programme, recording my process. It seems very obvious now, if my DOING is as important if not more that the product of my doing then should at least be documenting it.

Having a week or to to reflect on this glimmer of enlightenment I thought about my thesis subject on the 'Aids crisis and art' and whether it was a subject I wanted to pursue when it was really my starting point. I feel making a decision early on in the two year programme the same time as the full time students is a mistake. I had not really discovered what I was making or doing or why and needed time to reflect on context.

It was my early confrontation with mortality that eventually enabled me to arrive in a place whereby DOING became very valuable as a meditative process. I also thought about how people document process and read a few papers regarding documentation of temporal artworks. I am more enthused with this subject. I poses a lot of questions which I would like to research further.

I have now produced a selection of trials/objects etc that were sitting on my desk during my tutorial with Claire. Claire started to position object next to each other but also with other students work. It made us all think about composition and installation methods. I took pictures of these pieces moving them and placing them in different positions. It sparks a series of further lines of inquiry into methods of making, process, and outcome.