I have just found this tiny pot which I made in about 1976 as a student. Probably the best thing I created at that time as it holds much of what still concerns me in current drawing projects. The Square, The Circle and a playful response to the world I live in.
What I like most of all is its ‘pot-ness’ whilst at the same time its ‘bird-ness’. I remember that I had seen an image of some ancient clay toys, which inspired the painting scheme. Hand-built porcelain at just 6 c.m tall, with brushwork in iron oxide. This bird with four legs still makes me chuckle.
My current work still has the same archeological connections as I continue to ponder on the ancient impulse to ‘make’. I am still obsessing with geometry in conjunction with natural forms. My choice of materials is still governed by a perception of ancestral connections. Clay, minerals, charcoal. The sense of touch is still as important in 2D work.
Making a mask / head-dress for ‘Hart of the Wood’ . This is to be a stags head with intimations of Green Man.
Film making in collaboration with ‘Artdocs’.
All will be revealed in due course.
This week I have mainly been building a ship.
1620 ‘Caravel’ Merchant Vessel
In the last month I have bought two pieces of art.
The first being a ceramic mask from Graham Underhill. The Willoughby Memorial Trust Gallery, Corbyb Glen Lincolnshire
The Second work of textile art from Kashif Nadim Chaudry. Primary: Nottingham Studios.
Looks like it takes me three months to reach an end point to these large drawings, can’t say finished but to arrive at a stage of partial satisfaction. This is now Vitruvian Man at 3 months. Smaller drawing continue to develop the theme.
Over several month I have been working on a new ‘Arlecchino mask, breaking away from traditional representations in a search for a more mature, tricksterish and altogether joyous character. Initial drawings to find some sort of ‘Essence’.
Progression was made in the clay design with several changes of direction, which retained elements of tradition but with a greater emphasis on asymmetry and uplift.
Experimenting with a lighter paint scene in order better see the sculpture.
From initial research drawings, through clay sculpture, to mould making ready for casting in paper. Once out of the mould ,I experiment with paint finishes. One is prepared with a solid colour as a base coat and the other I use the paint as a stain directly onto the brown paper .
Her mantra is ‘I have a secret’.
Next I have to try the mask out on a performer.