Thinking about installation

I have had a really good couple of weeks in the studio, quite productive in terms of making and learning from creating models in Fusion 360and then making plaster moulds by directly cutting them on the cnc mill. Claire's question "Think About How to Display Your Work?" was a good question that resulted in a shift from directly cutting the clay body with inclusions on the mill to cutting plaster blocks and then using them to create form. The limitations of the milling machining mean that objects are restricted to 5/6cm on one axis which means that whatever object I choose to make by directly cutting into clay has a volumetric restriction and therefore result in object of a similar size distribution. When referring back to compositions of paintings and composition generally it is difficult to create this as milling dry clay means I can only create volume by stacking. I then started milling plaster moulds directly with the mill and including locators, this means that I can work with leather-hard clay and therefore join, distort and build with the resulting press or slip cast forms.

I started to produce a few samples from the moulds, slip casting, joining, including some glaze chips (earthenware glaze mixed with gum arabic and then dried and broken into chips) I had used before in the clay body. I had a tutorial with Natasha discussing the work and techniques. We discussed the visual style/language developing and possible ideas for installations or objects. I felt I was at a bit of a cross roads in terms of where my works sits, either as object decorated with colour and texture in the style of Ron Nagle, miniature landscapes OR something more installation based. Natasha suggested that the work was lacking in context, what was I saying with the work? what was context/concept? We discussed some of my interests and influences from images on my board, Geological, Earth Based, Human Activity of Making, Mineralogy, Anthropocene etc. I had a discussion with Martin Woodward who has a good knowledge of place and the geologic in art. I read some works he suggested The Non-Human Turn, Grain Vapour Ray, and several other works and videos regarding Speculative Realism, Object Oriented Ontology (links below)

Regarding suggested artists to research whose interests lie on the geologic Natasha had suggested Tyler Lotz who's work I already know and Tom Schmidt whom I didn't know but makes interesting work relating to the geologic and digital processes. I also discovered another artist who was unknown to me Jonathan Mess.

The context of my work is definitely beginning to focus on my interests in geology and the human geologic or the Anthropocene whether or not the term has yet to be validated by  official bodies the presence of human activity in the geologic record is factual.

The questions I seek to answer with my work are based in present futures.

  • What does the Anthropocene time look like in Strata,
  • What agents contribute to the strata identification, chemical, physical, mineral, particle?
  • How are these agents interrelated?
  • How will the Earths 'natural' processes affect this Anthropocentric layer e.g. will they become fossilised, will they be continually eroded and deposited and subjected to the geomorphological processes that have already shaped the surface of the earth, what will be the consequences of these actions? (Shell in the wind story in Grain of Grain Vapour Ray)
  • Will there be any value in the Anthropocene to future inhabitants, visitors of the planet in the post human?
  • Why do we care?
  • How do geological processes interact from a OOO perspective, refer to the 'Shell and the Sand' story in Grain from Grain, Vapour, Ray.
UncategorizedDean Coates