BA (Hons) Drawing
My practice engages with the sensory nature of materials and the processes that dictate form. Recently I have been focusing my practice on the tactile quality of clay and its own inherent material characteristics (e.g. its porousness, weight, wetness, dryness etc) to create large-scale performative sculptures. I manipulate the clay by hand repeatedly clawing, pushing, pulling, and re-distributing its weight until it begins to struggle or conform under the pressure. Once a form has been created, it doesnât necessarily mean finality. I never fire any of the clay objects I make, so their mutability is always implied. My process is not linear, and the sculptures may not go through exactly the same developments; what was once wet may become dry, what is then dry and broken may be re-wet, re-worked and re-built. The material itself is performative - changing and collapsing over time - as is my role of mark-maker, destroyer and creator. They are not only sculptures but also traces of a performance you donât see.