Visual explorations of the human geologic

It’s been while since my last post after having been away travelling over Christmas. I haven’t been in the studio but took the advantage of time away to further my knowledge and research or works by Jan Zalasiewicz, Manuel DeLanda and Bruno Latour. Zalasiewicz works are based on the human geologic, speculative writings on what the earth may look like in millions of years and how geological processes might possibly affect the geological impacts attributed to humans. There are a few paragraphs in his book whereby he describes palaeontology and a careful investigation of interpretation, it reminded me of looking at art and interpreting artworks

DeLanda’s ‘One Thousand Years of Non Linear History’ is a terrific book comparing energy systems to both science, biology, geology and human systems. I love how his writing examples compare energy systems of thermodynamics and bifurcations across academic disciplines. For example his reference to micro organisms use of mineral to create exoskeleton and bone and humans use of mineral to create habitat, towns and cities.

Latour’s work is very inspiring, his writing on objects and networks in ‘We are not Modern’ and ‘Actor Network Theory’ suggest a delicate balances of systems whereby culture and nature are intertwined. He suggests that objects and should be given voices and a parliament of things should be established to govern the Earth. It approach is similar to others that approach Object Oriented Ontology.

The speculative approach of Zalasiewicz has gripped my knowledge of geology and my inquisitive nature. I has made me think speculatively about future visions, human detritus, erosion, deposition, decay, transportation of dust, rock, plastic, concrete etc. The possible scenarios are vast and complex but allow for playful exploration in the studio.

On return to the studio I started to fill my souls with broken porcelain, earthenware, granite, colours, glazes etc to test and see what it does in terms of colour but also what happens to the surface, there is a likeness here to a geological laboratory. I had a tutorial with Claire, we discussed the breadth of my work, from installation to object. Style and colour. The discussion was very productive and left me with some good ideas to investigate.

Glazing forms in a single colour and position of plinths made of plaster, kiln bricks etc Possible use of others colouring methods, paint, acrylic, powdered colours in plaster. Using fired engineered parts in raw clay deposits.

UncategorizedDean Coates