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? 

Physical traces of making

This exploratory work has been sitting in my sketch book for a while now. I'm revisiting it as I think I've finally formulated my thinking enough to begin to develop it further.

I'm looking at the process of making and the importance of that direct contact or handling of a material through making. In this case I'm using three different clays. 

With a simple set of instructions such as: pushing, squeezing, folding, opening I've been interpreting and responding to these words through the movement and manipulation of the clay itself.

 The initial idea came from looking at Richard Serra's verb list. There is a rhythm to this list in much the same way there is a rhythm to many making processes. 

Each piece of clay begins in the shape of a ball. The idea is to work quickly without over thinking each instruction meaning you are left with an object that hasn't been overworked. All tools have been removed from this process. Every mark, trace and indentation has been made through my hands or contact with the work bench.

I will be posting more images as this begins to unfold. 

All images taken by Ben Winkley 2015