Artwork
Interstice
Architecture ceramic panel
Brutal-idyl
Brutalist architecture ceramic vessel
In Passing
Animation suitcase
Break
The Grey Area, 2016
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Bonsia as a symbol of purity, a form without context.
Brutal-idyl, 2018
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Interstice, 2018
Measuring >>
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In Passing, 2013
This suitcase contains a mechanical flickbook animation.
The Grey Area, 2016
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Bonsia as a symbol of purity, a form without context.
Brutal-idyl, 2018
This is an Image & Text block. Click on this text to start editing and enter your own text with some basic formatting. Just click anywhere outside the text box when you're done to continue working on the rest of your page.
To change the layout and appearance of a block, such as the size of its images and columns, click on the Change Layout button on the block toolbar, to the right of each block.
Interstice, 2018
Measuring >>
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In Passing, 2013
This suitcase contains a mechanical flickbook animation.
The built environment presents new possiblities of making and this underlys much of my practice. Finding ways to critique the unreachable in architecture and striving to reclaim control through the tactile materiality of clay. A process of model making in ceramic very closely resembles the conditions of building making; conception, testing, while the kiln fixes the outcome with a permanence not seen in architectural model making. A permanence which is replicated through the construction process. Man-hours, tonnes of formed material, and vast capital expense, from which there is little scope for revision.
understanding our own scale in relation to the monumental.
Shared experiences. Alternative meanings derived from interaction with common spaces. architectural vision vs real ways
Buildings leave impressions upon us, subtly channelling our movements and thoughts around what can be conceived as possible. The feeling to affect change, or not, is a central precedent to enable the feeling human freedom. Intentionally adopting the tactile material of clay I proceed to simulate something of our collective conditions of living. Restaging moments of construction, existence and demolition. Expolring our feelings towards the places which secure and confine us. Objects of the domestic scale bring a particularly close relationship to objects, on a scale suseptible to human manipulation. The chance to redefine our relationship with architectural space is critical
The urban cycle is called into question through ceramic objects. drawing together the hand and the monumental.
In 'The Grey Area' the city is implied as it is absent. A street sweeper tends to the artificice of the Bonsai. The grey background could reprecnt a negative space, or a comlpetely filled framing of concrete. Infact the drawing surface is formed of recycled paper pulp. Like the informal workforce who collect Hong Kongs' tonnes of waste cardboard.
agency
In my works sometimes works are clearly fine art in their nature, whereas other straddle forms into crafted ceramic objects on a domestic scale.
Heading Text
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