Ethos

The ambiguity of whats out in the art world is enormous, yet I begin to see myself touch upon some boxes, some more than others. Looking at Narrative: anti-narrative and still life, Meta-modernism: materiality and process and Function: interactivity and Design, I definitely see myself discussing themes of craft in relation to fine art and with that talking about ceramics and its materiality and process, towards how objects interact with one another which subsequently has to do with function and all of it’s negative connotations.

My work relies completely on the potential and possibility of clay. The technique of coiling relies absolutely on time and the senses remembered in the fingertips as the thumb and index finger press the clay and form it to the desired thickness. Such a way of working applies minimum use of tools and machines, and completely adapts the body of the artist.

Through craft, objects are invited to return to the human life where they belong, where they can provide the psychological foundation for us to realise humanity and establish bonds and exchanges with each other.

Part of my thesis which is at the heart of my practice is looking at ceramics in a more concrete way and how it appropriates within the fine art spectrum. Ceramics is property understood as a fine art medium, but over the years it has been overlooked and demoted, partially this is the result of its craft associations as craft generally is regarded as ‘lower’ than art.

Although it is a familiar and well-trodden narrative to those used to discourse on contemporary craft, exploring both the connections and erosion of boundaries between design and art, function and concept is at the core of what I am exploring.

I want to have an end result which reside at the edge, occupying what author Dr. Jorunn Veiteberg has called ‘an intervening space’. In her book Craft in Transition, she observed: ‘It has been common to describe craft’s position as a borderline area between fine art and design. I have preferred too call this area and intervening space or, to be more precise, the space between function and non-fuction, tradition and breaking with tradition, craftsmanship-based art and idea-based art’.

Perhaps this whole project has to do with my self-centred idea of defending myself as a maker/ceramicist trying to make art. There is an urge in an art college or in a creative mind that the product of your imagination has to have some sort of artistic value or in other words a work of art.

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