I came across Susan Nemeth on the Ceramics Review a few issues back and I absolutely fell in love for here work. This series of work capture what im seeking on my project, I really like the signs of rawness, fragility, vulnerability and individuality which are exposed in these handmade objects, something that I would like to bring to my project. She explores this idea with ceramics by investigating how rapid sketching becomes more animate and anthropomorphic with repetition and how this translates into sculptures of pottery which is something I would like to develop further after my Tea for Two project into my subject module.
Early European porcelains of Meissen and Sèvres are her reference, but these symbols of perfection eliminate the mark of the maker. Disrupting, simplifying and transforming these objects with the imperfect touch create a bare essential caricature, exposing a raw rudeness.
Exploring the idea of the pot as a relic, womb or a container for precious objects, certain elements become pivotal. The opening may be an orifice or a wound, the belly may be swollen with imaginary contents or a paunch bulging above a tall, narrow stem with an elevated foot may emphasise insecurity.
Interaction with the material is a two-way process. Her practice of making, destroying and remaking parallels cycles of decay and renewal. She builds, soaks, pushes, squeezes, breaks, cuts, tears and repairs. To destroy and rebuild allows a lack of control, increasing motion in the making. The construction methods remain visible, similar to that of drawing, erasing and adjusting.
I had a go at creating this tall sculpture during our combustibles induction with Gemma. I used ash white clay with paper pulp incorporated in it. Using coiling, I crudely built this sculpture which has received a few funny looks.