BA (Hons) Ceramics 2004 |
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Caroline Tattersall Tel 07815 124947
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I have furthered this investigation by looking at transition, looking at the fired and the unfired. How clay is concerned with constant change, it is uncommitted and vulnerable to deterioration and how this leads to the unavoidability that it will return to its original state. In contrast to this is the ceramic object, that which has undergone another transition to become a committed object and becomes a product of a captured moment significant of its experience. The objects I have chosen to carry these ideas are containers as they involve an internal space, a skin and an external space. Where the ice is then placed forms a dialogue between these vessels as they maybe connected internally or externally and held at variant extents within the structure. The changes that will then occur between the ceramic describe the inevitable losses and failures and the essential transience of things within relationships. I have been focusing on the relationships formed within attachments as they are central to our existence and are the essential connections involved in overcoming the space between us. We know ourselves only insofar as we live in connection with others, and we experience relationship only insofar as we differentiate other from self. An attachment figure is someone from whom we find support, encouragement and reliability someone who is there for us in a time of need; those who recognise and validate us, to help us structure our own sense of reality. An ‘other’ serves not only as an attachment figure but also as a carrier, that which contains and structures life. Relationships are concerned with a moment in which there is a formation, maintenance, disruption and finally a loss of relatedness. The stronger, more intense the attachment the greater the sense of loss. |
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Fundamentally my work is about the interrogation of a process
and is concerned with the inevitability of change. In particular
I have explored the phenomena of freezing looking at various aspects
of ceramics and how the clay is affected by this, in terms of particle
alignment and structure, the composition of the clay and its water
content. From my experimentation I found that incorporating the
ceramic objects within ice, conceptually, the most interesting
as each vessel is then encapsulated within the same sense of time.
The ice can then form a narrative between unfired ceramic objects,
in which a permanent, irreversible change will occur.
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