Physical traces of making: Part 3

March 27, 2015

Since my last additions based around 'Physical traces of making' I've been scaling the work up slightly and also looking at different ways to present it.

Work in progress with porcelain

The two or three pieces below have been photographed on mirror glass against white and black backgrounds to see how or whether it changes the appearance in any way. On closer inspection the porcelain against black seems to bring out more detail on the surface.

The use of monotones in reversal is definitely something to explore further.

Mirror glass is a material I'm revisiting from the exhibition at Arthouse1 in 2014.
I'm fascinated by extending the work and revealing parts of the form that would normally be concealed by the plinth or surface it's sitting on.

I'm particularly interested in these tiny points of contact with the mirror glass raising the rest of the surface up and away. Creating new visual spaces intangible spaces and small pockets of space.

High fired Porcelain

Physical traces of making

February 13, 2015

This exploratory work has been sitting in my sketch book for a while now. I'm revisiting it as I think I've finally formulated my thinking enough to begin to develop it further.

I'm looking at the process of making and the importance of that direct contact or handling of a material through making. In this case I'm using three different clays.

With a simple set of instructions such as: pushing, squeezing, folding, opening I've been interpreting and responding to these words through the movement and manipulation of the clay itself.

The initial idea came from looking at Richard Serra's verb list. There is a rhythm to this list in much the same way there is a rhythm to many making processes.

http://www.moma.org/explore/inside_out/2011/10/20/to-collect

Each piece of clay begins in the shape of a ball. The idea is to work quickly without over thinking each instruction meaning you are left with an object that hasn't been overworked. All tools have been removed from this process. Every mark, trace and indentation has been made through my hands or contact with the work bench.

I will be posting more images as this begins to unfold.

All images taken by Ben Winkley 2015

Exhibition at Arthouse1 October 2014

October 16, 2014

It's often said that simplicity requires a lot of hard work. In the case of our installation at Arthouse1 in Bermondsey Sasha and myself were setting up for about a week.

A little longer than we both had expected but this particular exhibition required an exceptional attention to detail. We had decided to keep the ceramic works low to the ground in order for the audience to look at the work from a different perspective.

I personally feel that a lot of galleries show work at eye level on plinths and it's too easy. It's a format we are all far too familiar with and it's not always the best way of really be able to focus on the work.

Perpendicular opened on Thursday evening (9th October) after much help and assistance throughout from both Rebecca Fairman and Adrain Hicks.

Here are a few images of the exhibition in natural daylight on the first day kindly taken by Adrian Hicks.

www.arthouse1.co.uk

Image taken by Adrian Hicks 2014

Sasha is exhibiting two installations and a series of photographs that have been born from the installations themselves. Through the use of water, light and motion.

These collaborative pieces titled Collection of five #1 and #2 comprise of small ceramic segments that sit along side Sasha'a photography.

There is a strong synthesis between us both particularly through the use of mark making.

Image Taken by Ben Winkley 2014

Image taken by Ben Winkley 2014

My two collections on show are titled Kuro and Shiro are looking at small intimate spaces that contain light.

These objects are the complete opposite to Sasha'a works. They are dense, heavy and present within the space.

There is a physical tactility to them and the process of making is evident within the traces and marks left either by my hand the tools or other processes I have undergone to achieve certain aesthetic qualities.

Sasha's work is more transient it's continuously changing with movement, light and shadow. There is an illusion of something tangible but mark making has been created through an impermanant medium and there is an ethereal quality to the entire body of work showing here.

Perpendicular will be showing at Arthouse1 until 1st November 2014

The gallery is open every Thursday-Sunday from 3pm - 7.30pm or by appointment

www.arthouse1.co.uk

Perpendicular's ceramic pieces and photography for Arthouse1

September 25, 2014

As one exhibition sadly ends at Siobhan Davies another opens in a couple of weeks time at Arthouse1 in Bermondsey, London.

In my last post I talked about adding more images of work that will be shown in the exhibition and since then the kiln has been on pretty much continuously. I still have four or five more firings to squeeze in before completion but it's definitely coming together.

I will be showing a series of black and white pieces along side Sasha's installations and photography.

Sasha is working and developing a series of site specific works so I can't really show the installations at this stage until we begin to install next week.

But here's a peek at some of the photographs and my ceramic objects.