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Photo by Ben Boswell
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About
I work with porcelain to create fragile and delicate looking hand built forms and vessels. By exploring the boundaries of porcelain I have learnt how to drive this wonderful material to its maximum before collapse or extreme warpage takes effect.
By deconstructing the constructed I have subverted traditional methods of production. This has resulted in a range of distorted, manipulated and beaten forms, producing imperfect lines, undulating curves and interrupted contours. By considering the nature of the clay, in addition to its comparable properties to fabric, I am re-inventing the seam of ceramics with the invisible stitch. Joins are not concealed or hidden with colour; they are made to catch the eye and question how they came into existence. Although perhaps similar in shape, each piece will differ due to the force, positioning and timing of the instantaneous contact between man and material.
The theme of deconstruction, coupled with inspiration taken from fabric materiality and the unpredictable nature of porcelain, enables this collection to question interactions within the interior environment. Varying reactions provoke questions such as: “How is it they look soft?”, “why are they distorted?” and “has the process gone wrong?” Newer work bridges the gap between decorative aesthetics and functional pieces.
Rwy'n gweithio gyda phorslen i greu ffurfiau bregus â llaw. Trwy archwilio ffiniau porslen rydw i wedi dysgu sut i wthio’r deunydd gwych i'r eithaf cyn iddo gwympo neu newid siâp yn ormodol.
Drwy ddadadeiladu ffurfiau rwyf wedi gwyrdroi dulliau traddodiadol o gynhyrchu. Mae hyn wedi arwain at ystod o ffurfiau sydd wedi’u trin a’u curo, gan gynhyrchu llinellau amherffaith, cromliniau tonnog a chyfuchliniau yn y darnau. Mae natur y clai fel ffabrig, rwy’n ail-ddyfeisio gwnïad y serameg gyda’r pwyth anweledig. Nid yw’r man cyswllt rhwng dau ddarn yn cael eu cuddio â lliw; maent yn cael eu creu i ddenu’r llygad ac i gwestiynu sut y daethant i fodolaeth. Er bod pob darn yn edrych yn debyg, maent yn ddarnau unigol, ac maent yn dibynnu ar amseriad a lleoliad y cyswllt rhwng dyn a deunydd.
Mae’r thema o ddadadeiladu, ynghyd ag ysbrydoliaeth a gymerwyd o berthnasedd ffabrig a natur anrhagweladwy porslen, yn galluogi’r casgliad hwn i gwestiynu rhyngweithiadau o fewn amgylchedd adeilad. Mae ymatebion yn ysgogi cwestiynau fel: "Sut maen nhw’n edrych yn feddal?", "pam ydyn nhw wedi cael eu hystumio?" ac "ydy’r broses wedi ffaelu?" Mae gwaith cyfoes yn pontio'r bwlch rhwng estheteg addurnol a darnau swyddogaethol.
By deconstructing the constructed I have subverted traditional methods of production. This has resulted in a range of distorted, manipulated and beaten forms, producing imperfect lines, undulating curves and interrupted contours. By considering the nature of the clay, in addition to its comparable properties to fabric, I am re-inventing the seam of ceramics with the invisible stitch. Joins are not concealed or hidden with colour; they are made to catch the eye and question how they came into existence. Although perhaps similar in shape, each piece will differ due to the force, positioning and timing of the instantaneous contact between man and material.
The theme of deconstruction, coupled with inspiration taken from fabric materiality and the unpredictable nature of porcelain, enables this collection to question interactions within the interior environment. Varying reactions provoke questions such as: “How is it they look soft?”, “why are they distorted?” and “has the process gone wrong?” Newer work bridges the gap between decorative aesthetics and functional pieces.
Rwy'n gweithio gyda phorslen i greu ffurfiau bregus â llaw. Trwy archwilio ffiniau porslen rydw i wedi dysgu sut i wthio’r deunydd gwych i'r eithaf cyn iddo gwympo neu newid siâp yn ormodol.
Drwy ddadadeiladu ffurfiau rwyf wedi gwyrdroi dulliau traddodiadol o gynhyrchu. Mae hyn wedi arwain at ystod o ffurfiau sydd wedi’u trin a’u curo, gan gynhyrchu llinellau amherffaith, cromliniau tonnog a chyfuchliniau yn y darnau. Mae natur y clai fel ffabrig, rwy’n ail-ddyfeisio gwnïad y serameg gyda’r pwyth anweledig. Nid yw’r man cyswllt rhwng dau ddarn yn cael eu cuddio â lliw; maent yn cael eu creu i ddenu’r llygad ac i gwestiynu sut y daethant i fodolaeth. Er bod pob darn yn edrych yn debyg, maent yn ddarnau unigol, ac maent yn dibynnu ar amseriad a lleoliad y cyswllt rhwng dyn a deunydd.
Mae’r thema o ddadadeiladu, ynghyd ag ysbrydoliaeth a gymerwyd o berthnasedd ffabrig a natur anrhagweladwy porslen, yn galluogi’r casgliad hwn i gwestiynu rhyngweithiadau o fewn amgylchedd adeilad. Mae ymatebion yn ysgogi cwestiynau fel: "Sut maen nhw’n edrych yn feddal?", "pam ydyn nhw wedi cael eu hystumio?" ac "ydy’r broses wedi ffaelu?" Mae gwaith cyfoes yn pontio'r bwlch rhwng estheteg addurnol a darnau swyddogaethol.
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Photography by Diana Oliveira
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