Exploring the situation. Finding Ceramics...

Exploring the Situation

Exploring the Situation

Finding Ceramics ...

Beatrice Galletley Finding Ceramics.....

Our lives are intertwined with categories in which we like to place things. Objects are defined by form, colour and scale, but most importantly by their function and our understanding of them. Through my ceramic sculptures I hope to show how breaking these conventions can bring a new order and understandings to objects and ourselves within the world.

1 Not

I am drawn to things that are multi-dimensional: they defy boundaries both physically and metaphorically. Life does not exist within a static state, so why should objects? This ever-shifting plane or mindset we live in is diminished in the way many works are displayed. I feel it is important to break this and situate artwork in the same fluid state it was created in.

Ceramics have a unique relationship with objectivity because they are seen within the world in many categories, such as art, home, museum, sculptural, functional, decorative. The culture of ceramics is perfect for exploring objects that exist within the ‘in-between’. With the history of this medium and my unique ambiguous forms, I am able to address the ability of an object to be multi-dimensional and in a state of flux. I do this through merging opposing forms: Including geometric and organic, and playing with scale, and manipulation of context and colour to create works that are suggestive, acting as prompts. My hope is that the forms uniquely connect and resonate with each viewer, encouraging discussion and challenging their understanding of how they place, see and experience objects.

Permanent

But

This portfolio is a visual link to my thesis ‘Finding ceramics, exploring the situation’ and takes on the format of a zine as it echos how the conversation is in flux. My thesis was a personal exploration of my interest in ceramics’ multidimensional position within the world. I have always been unsure where I position myself; having studied fine art but always used clay as my medium, this has raised question and challenges towards my use of material. I became very interested in objects and, in turn, artwork that challenged our conventional understanding of themselves and their position through being multidimensional and not existing within a singular category. This exploration within my thesis became the building blocks for my creative practice.

Ever-shifting

Through this portfolio I hope to develop upon my initial thoughts and writing, to see if I have answered some of the questions I explored in my thesis, or if through physically making, I have generated new questions. The structure of my portfolio exists around the structure of my thesis; using the chapter headings as a base structure of my portfolio. I also reference relevant observations, and quotes which I aim to support through images or develop through new writing and images in relation to each other.

All text in this register is lifted from my dissertation This register is a response or development upon the questions raised

‘ Chapter 1 ,Not Permanent; but ever-shifting, examines the concept of non-permanence and the fluid state of an object.’

MOVEMENT FLUX FLOW IN BETWEEN GRAVITY WEIGHT WEIGHTLESSNESS SHIFT CHANGE IMAGINATION FREEDOM EVER-SHIFTING

Are these the same object?

The combining of opposites creates a dynamic form that cannot be understood from one viewpoint.

Through the abstraction of form, I have been able to create an ‘evershifting’ object. Abstraction creates a form that is not definable but suggestive and therefore to each person it will resonate something unique, ‘Ever-shifting’.

These collages for me encompass the idea of the state of the ‘in-between’ and the ‘ever-shifitng’. The suggestion of movement within these collages helps to enforce this idea of an object in a state of flux.

What if there was no gravity?

How does this ever-shifting form change you’re relationship to this object and others?

The use of flat planes, geometic and organic structures create forms that allow these objects not to have a definitive base and therefore can shift and change.

The combing of oppsites also creates a paradox.

This paradox allows the object to exist within an ‘Evershifiting’ state.

Through movment you take away the objects limitions.

‘The transient nature of an object has a particular function to allow people to engage with it, change it and depending on the situation develop it. This is an exciting prospect as it begins the journey of permitting people to see the objects within our world in a different light and the endless possibilities and knowledge that these objects can bring if they are given the opportunity It is this constant undecided future that it curious; where will you find the ceramics next?’

Habits take 21 days to break they say…. I wonder how long it will take for these objects to break our habit of categorising.

In disrupting our ability to easily understand and in turn categorise these objects I encourage the viewers to challenge, question and change their understanding of objects within the world.

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‘ A great artwork is one that will disrupt ingrained perpetual habits and change our ways of experience the world.’ 1 1

Allen S Weiss, The Grain of the Clay: Reflections on Ceramics and the Art of Collecting

2 Placement Changing Rooms

In Chapter 2 , ‘Placement – changing rooms’ , i will explore how some artworks are not confined to a singular setting or place and the impact that has.’

‘Intertwined and almost one in the same with the oscillating nature of an object is its placement. Many perceive that artwork must be displayed or exist within a certain situation, such as an Art Gallery or sometimes a museum. However, an artwork does not only and always have to exist within this context’

By removing these works form their common territoty, a Gallery and into the streets of Malta or Dali’s home I break the rules but I start the questions, I create the platfrom to challange and to grow.

The shift in place and placement is a powerful one.

It is taking what we know and understand and flipping it on its head.

We need to take time to stop and look. With time we can see what we may have been blind to before.

You could say you push beyond into the imagined much like these collages but if you let go of catgories this can be a reality.

Breaking the conventional norm will help you to stop, look, engage and grow.

Rules, borders and boundaries are good they create order and calm.

But how can one ever grow if we do not push these boundaries and categories?

Disorder can bring clarity new answers and new begins.

It is not so much disorder, it is about stepping out of what we know into new order and new understanding. Reconfiguring and readjusting our perception of objects, the world and in turn oursleves.

‘As artists we create something to exist in the world to trigger questions and create conversation. However, we then control it by placing it often in a finite destination - why?

Merging, past, present, future. where are the limits?

I have taken away the boundaries, borders and limits.

I have given you the freedom to decided.

limits only exist within mind. let go free yourself. See a new relationship between objects began to form.

‘Expanding the placement of the artwork and permitting the visitor to have a say in its placement within the world. Allowing it to not be confined to the art gallery or the museum but to exist within the world with an ever-pending future.’

3

Handling

‘In the Third chapter ‘Handling’ I look at our relationship with the physicality of objects and examine how we have lost our material intelligence and what this means in relation to understanding ceramic objects. How physical engagement with an object can change and or push an artwork in to new worlds of meaning.’

Placing objects within existing frame works that we can understand reduces the cognitive load making life easier. It is through this laziness that we have lost contact with our material intelligence as life does not work in that way for ‘our sense our multidimensional and interdependent’.1 Thus, we may ask why we restrict ourselves to only viewing art and objects in a singular way?’

Handling slows us down it triggers contemplation;

1

‘Bonnie Kemske, ‘Embracing Sculptural Ceramics: A Lived Experience of Touch in Art’

Some postions it fits so comfertablity within in my hand.

It is not just about touch but also physicality.

The surface is smooth.

Sometimes cool to touch.

How does this object make you move around it?

The tacticaliy and comfert of it within my hand brings the object into my world.

What is your bodys relationship to the object and the space it exist within?

How does that relationship change the way you view that object?

Take time to stop and think about your physicality inraltion to objects.

This one is more awkard to hold, due to its size but also its shape.

It almost feels like an extseion of my hand.

Maybe thats the colour and the more organic form?

The edges are pleasing to run your finger along, tracing the ever-shifting form.

The smaller scale allows for an intimacy creating a unique connection between the object and the viewer.

To makes the forms i become very physically aware of my body. Bending, moving, grappling with how i phsycially mounuvered my body in order to make these piece’s. The unspoken but physical realitonsip this built.

How do the curvers and softs forms relate to me?

How do the flat planes and angles make me move?

‘The incorporation of physical engagement creates an environment in which an object can take on a versatile domain and have a dynamic and ever-shifting existence’

How does that change my understanding of objects?

The play with the absurdity of being able to put your hand through this piece shows the power of pushing boundaries as it triggers thought and questions about new possibilities.

Touch is a very powerful tool, one often neglected and forgotten.

‘Ceramics occupies a unique position unlike other static pieces of work due to its tactility. This would not be possible if the objects had not already been multifaceted and evershifting.’

‘These objects are not defined by typical conventions, they exist almost in a paradoxical universe or world which we are all striving to reach and will do if we continue to allow objects to exist within multiple settings; ‘art has an essentially utopian dimension: it is about the world that is not.’1 ‘ 1

Berger, Karol, A Theory of Art