process work

Install for 10Days Winchester.

Here are a few images from the third and final canvas for 10days Chalk in Winchester. 
Yesterday was the installation for opening on Sat 10th Oct. With very little idea how these were going to look until they finally made it up on to the wall I had resigned myself to adding sections on site. 

Throughout the entire making process I had these 3m panels flat on the floor. Making it very difficult to fully see the work or understand the overall impact.

Along with the three large panels made to hang on the red brick wall originally an exterior wall within the Theatre. 
I also included some smaller test pieces and several 50x50 cm squares that I had initially worked through exploring how the chalk was reacting to the surface the differences between varnishes, matt mediums and egg. 

Much like my exhibition at Siobhan Davies I wanted to keep the entire body of work together creating a narrative from start to finish throughout the space.

The second Canvas going up with the help from Spatz at the Theatre. Installation was complete within four hours my record time and I maintain that was down to the expert help and patience from Spatz who was a complete star from start to finish. 

These are taster images as I don't want to spoil the entire exhibition before it opens. 

I will be posting more images up in the next few weeks.
The Biennial opens on Saturday everyone is welcome. There will be a trail of openings  across the city starting at the gallery at Winchester College of Art. I will be at the theatre from 4pm where I will give a brief welcome and will be around for any questions afterwards.

Physical traces of making part 2

In the previous post I briefly talked about the development work around the traces of making. 
Here's some of the work I started a couple of years ago. I wanted to see how different sized pieces of clay would impact on the shapes and forms that could be created through simply using  my hands. 

As I mentioned by following simple words led as instructions these small abstract shapes began to take place. 

As I worked through each ball of clay I wrote down what I had done and how each shape had been made.
For example: using both hands pressed down on to the table. 

I gradually worked through porcelain paper clay, terracotta and a course black chunky clay.
To see if that had any impact on the work or whether the colour changed the way I handled the clay. 


As I began to accumulate a collection of interesting objects I considered the idea of extending this exploration to involve other people. 
As a maker I felt that I may be making certain assumptions around the capabilities of the clay and second guessing how it would behave which could hinder the outcome. 

Here are a few examples of Lisa's pieces. A friend of mine who has no knowledge of clay. 

It was an interesting process as there were some similarities between my own pieces and Lisa's. This most likely came about from one another's understanding of the words used as opposed to the clay. 

So… Is the clay simply the felicitator for the work and what is more important here?