Artists Statement and Principles.
I studied fine art at Camberwell and Canterbury and my principle focus has always been painting and drawing, so much of my work relies upon my knowledge and experience of the conventions particularly of European painting. My work is informed technically and to some extent iconographically by these traditions. However, my influences are extremely broad and eclectic and include a wide range of cultural traditions and references including academic and theoretical approaches that allow me to explore specific areas of representation that are important to me. This includes areas such as social semiotics, (specifically indexical qualities and spatial codes) along with traditional approaches to iconography, such as those represented by Panofsky and Wolflin. Over a long period of development, the integration of these different areas into the production of my work have proven to be very pragmatic approaches for getting things done as well as allowing me an increased depth and understanding in exploring a wider range of visual culture, all of which are important concerns for me.
Ceramic work
Form
Most of my current work is made on an electric or kick/ momentum wheel, although I also make indvidual commissions for clients who want work to very particular specifications. I am strongly influenced by certain aspects and philosophy of the making traditions of Korean and Japanese potters such as Hamada and the 'Mashiko' tradition. To this end potters such as Richard Batterham, Phil Rogers, Jim Malone, Tatsuo Shimoaka and many others of the Leach/ Hamada tradition have helped me in my development especially in regards to standards of throwing and arriving at a deeper understanding of form and the close attention and enduring respect for each aspect of the making process. The complexity of ceramics as a language seems generally misunderstood (not that in principle it is greatly different to any other visual language). One of the key elements in this respect is the quality of feeling demonstrated by the making process, often described by potters as a quality of 'vitality'. Making visible the qualities of feeling and vitality involved in that 'journey' creating form is something that has become more and more important for me. Perhaps this philosophy is best represented by pots of the korean porcelain and stoneware of the Choson (Joseon) period. The quality of process is never disguised and magnificent throwing combined with techniques that exploit the quality of the material being worked with such as squaring, faceting and cutting are superbly demonstrated. The pots of this period demonstrate a close understanding and magnificence of working with clay and the significance of each part of the ceramic process. Most importantly these works demonstrate a subtle understanding of the nature of the material, processes and traditions they are working with and an extremely profound understanding of the integration of the range of different processes of working with clay and fire.
Decoration
However, much of my decoration and technique is influenced by a much broader range of influences. This includes, (amongst many other things) Greek red and black figure painting traditions of antiquity, Isnik underglaze traditions, Chinese painting as well as 17th century European painting and ideas relating to semiotics, specifically spatial and cognitive codes (this sometimes helps me with structuring figurative compositions) and more traditional aspects of iconography such as those represented by writers such Panofsky and Wolflin.
Much of the work I produce is slipped and glazed often with incisions and painted designs, usually made under the glaze. I also produce work that is made purely with the intention of painting in engobe or oxides under a transparent glaze and many of the forms I make are therefore designed with this intention in mind. These pieces are intended in part to create a parallel with painting, ideally I would like to exhibit these works in combination with each other as they share similar a journey regarding process, development of theme and subject matter.
I enjoy being able to work on the painting and ceramics together which I believe achieves a good creative balance. However, the forms that I make in clay are very important to me in themselves and not least because of the traditions, functions and conventions they suggest. Thrown form has an enormous and immediate presence; a sense of completion, intimacy and satisfaction. It has been important to understand more clearly the psychology of this process and effect and most importantly not to underestimate its significance and integrity within the whole creative process. I am fascinated by the very subtle visual language of thrown form. One of the great pleasures I have begun to realise more clearly over the last 5 years is to understand this relationship between form and decoration, which as with all aspects of images and image making, is not separate from each other in effect, but for the nature of analysis, production and discussion it is useful to separate these elements to gain a more vigorous understanding.
It has always been very important for me to understand how role of form contributes as part of the representational process. One thing to emphasise most strongly is that form never acts as simple passive surface on which to apply paint. This is a fundamental concern to me in the making process and is a key part to the development of compositions.
Painting
The majority of painting I am making currently is in oil and watercolour and varies greatly in scale and subject matter however, there are some common themes and fundamental principles that I try to focus on when making painting. A more detailed summary of some of these principles follows below.
A series that I have been working on for some time may illustrate these principles more clearly. 'Dreams of Daedalus' is part of a series of images based on the character of Daedalus from Greek Mythology. Daedalus was the father of Icarus, who fell from the sky after flying too close to the sun with the wings that his father had made from feathers and wax to escape King Minos on the island of Crete.
For me, Daedalus is one of many intriguing characters to be found within myths from a variety of sources that represent a fundamental paradox between the ideas of strength and vulnerability interwoven into the fabric of human nature and experience. This idea is fundamental to almost all of the work I am doing. This encompasses a variety of ideas linked to a range of writers that have influenced me over the years. Specifically, this includes writers such as Roland Barthes, Michel Foucault, Julia Kristeva, Lisa Tuttle and Angela Carter amongst many others who have in one way or another affected and contributed to the development of my painted work.
Primarily, I am concerned with the ways in which 'vulnerability', integral as it is to the very essence of being human, is nevertheless matched by a remarkable capacity for resilience, creativity and independent action. The characters and stories therefore, being used in this group of images can be considered within this context, as a kind of first level iconography; a flexible platform to engage the viewer within a wider series of questions and ideas. This also includes attempting to draw the viewer's attention to the very nature of the representation with which they are engaged in through the process of looking.
One very important issue for me in all my work, (including the ceramic work) is the quality of 'intimacy'; more precisely engaging the viewer in a particular way, not just a reactive process. To this end every aspect of the making process is important; frame, medium, scale to name just a few elements that I am concerned with. Scale alone is of tremendous significance. For example, using the scale of work between A3 and A5 it is possible to create a very different range of effects than from working on a large canvas with the same composition. I have taken a great deal of time in considering the effect of using certain scales, so as not to lose certain qualities that I am looking to communicate with the viewer. This is especially important when representing figures. Making figures three quarter life size in contrast to working with actual life size representations of figures on a canvas can dramatically effect the content of the image and the relationship with the viewer. Essentially, the whole effect I am looking for is humbler more intimate and attempts to engage the viewer in a way that leads to greater depth and questions. Hopefully, when I succeed, the subject and details come to life slowly, more gently.
The intention here therefore, is to set up a space for the viewer to experience the qualities of representation in motion rather than imposing them with the air of authority or heaviness, which can often be the effect associated with some types of large works. This is one of the qualities of 'intimacy' that I am aiming for. The basis of this is simply to share the experience of the making, (I share the same philosophy and principles when I make pots on the wheel) not overworking by trying to cover up too much of the history of construction.
To this end I wish the viewer to engage with the image in a way that is directed but never forced. The iconcography and characters in the image, each representing a range of ideas are linked like collage to the pictorial plane. Sometimes though because of the wide associations of each protagonist and the juxtaposition with other elements within the composition, these can present unexpected chemistry. This can only be 'felt' or thought when there is precisely this 'space' wherein the viewer can involve him or herself. In this way the making process and the iconography are linked; joint players in the representational process. I hope therefore, to allow the structure of the iconography to remain intact but not dominate or even interfere with the viewer's engagement and therefore allow a deeper journey for the willing and intimately engaged viewer to begin.
I studied fine art at Camberwell and Canterbury and my principle focus has always been painting and drawing, so much of my work relies upon my knowledge and experience of the conventions particularly of European painting. My work is informed technically and to some extent iconographically by these traditions. However, my influences are extremely broad and eclectic and include a wide range of cultural traditions and references including academic and theoretical approaches that allow me to explore specific areas of representation that are important to me. This includes areas such as social semiotics, (specifically indexical qualities and spatial codes) along with traditional approaches to iconography, such as those represented by Panofsky and Wolflin. Over a long period of development, the integration of these different areas into the production of my work have proven to be very pragmatic approaches for getting things done as well as allowing me an increased depth and understanding in exploring a wider range of visual culture, all of which are important concerns for me.
Ceramic work
Form
Most of my current work is made on an electric or kick/ momentum wheel, although I also make indvidual commissions for clients who want work to very particular specifications. I am strongly influenced by certain aspects and philosophy of the making traditions of Korean and Japanese potters such as Hamada and the 'Mashiko' tradition. To this end potters such as Richard Batterham, Phil Rogers, Jim Malone, Tatsuo Shimoaka and many others of the Leach/ Hamada tradition have helped me in my development especially in regards to standards of throwing and arriving at a deeper understanding of form and the close attention and enduring respect for each aspect of the making process. The complexity of ceramics as a language seems generally misunderstood (not that in principle it is greatly different to any other visual language). One of the key elements in this respect is the quality of feeling demonstrated by the making process, often described by potters as a quality of 'vitality'. Making visible the qualities of feeling and vitality involved in that 'journey' creating form is something that has become more and more important for me. Perhaps this philosophy is best represented by pots of the korean porcelain and stoneware of the Choson (Joseon) period. The quality of process is never disguised and magnificent throwing combined with techniques that exploit the quality of the material being worked with such as squaring, faceting and cutting are superbly demonstrated. The pots of this period demonstrate a close understanding and magnificence of working with clay and the significance of each part of the ceramic process. Most importantly these works demonstrate a subtle understanding of the nature of the material, processes and traditions they are working with and an extremely profound understanding of the integration of the range of different processes of working with clay and fire.
Decoration
However, much of my decoration and technique is influenced by a much broader range of influences. This includes, (amongst many other things) Greek red and black figure painting traditions of antiquity, Isnik underglaze traditions, Chinese painting as well as 17th century European painting and ideas relating to semiotics, specifically spatial and cognitive codes (this sometimes helps me with structuring figurative compositions) and more traditional aspects of iconography such as those represented by writers such Panofsky and Wolflin.
Much of the work I produce is slipped and glazed often with incisions and painted designs, usually made under the glaze. I also produce work that is made purely with the intention of painting in engobe or oxides under a transparent glaze and many of the forms I make are therefore designed with this intention in mind. These pieces are intended in part to create a parallel with painting, ideally I would like to exhibit these works in combination with each other as they share similar a journey regarding process, development of theme and subject matter.
I enjoy being able to work on the painting and ceramics together which I believe achieves a good creative balance. However, the forms that I make in clay are very important to me in themselves and not least because of the traditions, functions and conventions they suggest. Thrown form has an enormous and immediate presence; a sense of completion, intimacy and satisfaction. It has been important to understand more clearly the psychology of this process and effect and most importantly not to underestimate its significance and integrity within the whole creative process. I am fascinated by the very subtle visual language of thrown form. One of the great pleasures I have begun to realise more clearly over the last 5 years is to understand this relationship between form and decoration, which as with all aspects of images and image making, is not separate from each other in effect, but for the nature of analysis, production and discussion it is useful to separate these elements to gain a more vigorous understanding.
It has always been very important for me to understand how role of form contributes as part of the representational process. One thing to emphasise most strongly is that form never acts as simple passive surface on which to apply paint. This is a fundamental concern to me in the making process and is a key part to the development of compositions.
Painting
The majority of painting I am making currently is in oil and watercolour and varies greatly in scale and subject matter however, there are some common themes and fundamental principles that I try to focus on when making painting. A more detailed summary of some of these principles follows below.
A series that I have been working on for some time may illustrate these principles more clearly. 'Dreams of Daedalus' is part of a series of images based on the character of Daedalus from Greek Mythology. Daedalus was the father of Icarus, who fell from the sky after flying too close to the sun with the wings that his father had made from feathers and wax to escape King Minos on the island of Crete.
For me, Daedalus is one of many intriguing characters to be found within myths from a variety of sources that represent a fundamental paradox between the ideas of strength and vulnerability interwoven into the fabric of human nature and experience. This idea is fundamental to almost all of the work I am doing. This encompasses a variety of ideas linked to a range of writers that have influenced me over the years. Specifically, this includes writers such as Roland Barthes, Michel Foucault, Julia Kristeva, Lisa Tuttle and Angela Carter amongst many others who have in one way or another affected and contributed to the development of my painted work.
Primarily, I am concerned with the ways in which 'vulnerability', integral as it is to the very essence of being human, is nevertheless matched by a remarkable capacity for resilience, creativity and independent action. The characters and stories therefore, being used in this group of images can be considered within this context, as a kind of first level iconography; a flexible platform to engage the viewer within a wider series of questions and ideas. This also includes attempting to draw the viewer's attention to the very nature of the representation with which they are engaged in through the process of looking.
One very important issue for me in all my work, (including the ceramic work) is the quality of 'intimacy'; more precisely engaging the viewer in a particular way, not just a reactive process. To this end every aspect of the making process is important; frame, medium, scale to name just a few elements that I am concerned with. Scale alone is of tremendous significance. For example, using the scale of work between A3 and A5 it is possible to create a very different range of effects than from working on a large canvas with the same composition. I have taken a great deal of time in considering the effect of using certain scales, so as not to lose certain qualities that I am looking to communicate with the viewer. This is especially important when representing figures. Making figures three quarter life size in contrast to working with actual life size representations of figures on a canvas can dramatically effect the content of the image and the relationship with the viewer. Essentially, the whole effect I am looking for is humbler more intimate and attempts to engage the viewer in a way that leads to greater depth and questions. Hopefully, when I succeed, the subject and details come to life slowly, more gently.
The intention here therefore, is to set up a space for the viewer to experience the qualities of representation in motion rather than imposing them with the air of authority or heaviness, which can often be the effect associated with some types of large works. This is one of the qualities of 'intimacy' that I am aiming for. The basis of this is simply to share the experience of the making, (I share the same philosophy and principles when I make pots on the wheel) not overworking by trying to cover up too much of the history of construction.
To this end I wish the viewer to engage with the image in a way that is directed but never forced. The iconcography and characters in the image, each representing a range of ideas are linked like collage to the pictorial plane. Sometimes though because of the wide associations of each protagonist and the juxtaposition with other elements within the composition, these can present unexpected chemistry. This can only be 'felt' or thought when there is precisely this 'space' wherein the viewer can involve him or herself. In this way the making process and the iconography are linked; joint players in the representational process. I hope therefore, to allow the structure of the iconography to remain intact but not dominate or even interfere with the viewer's engagement and therefore allow a deeper journey for the willing and intimately engaged viewer to begin.