So I had been thinking about suitable and meaningful organic matter to burn out and leave negative traces within the clay body. ( even the terminology lends itself to self portrait/ figurative ideas) I had to take a trip home to Derbyshire and this made me think about multi locational references within the sample. Or to think about multi locational columns in places which have a meaning for me. So obviously, I was born and grew up in Derbyshire and still have family there. Th

Taking into consideration the properties of clay work and its processes I need to consider how the core sample might fit together. I am limited by: Size of kiln- would need to be sectional Weight- need to stack without damaging previous layers Air being trapped- each section would explode in the kiln if too thick or contains air ( something to really consider when gasses are released from organic matter) warping- clay can easily warp when fired , some shapes more than others.

(Davids Studio and example of work) Conversation: 'So, I hope you get the idea, looking at landscape/ layering / personal references etc... then I began a different approach by trying to think about layers in a different way and attaching coded autobiographical meaning to the layers. It’s just something I am exploring Sheet steel, surface manipulated and worked on. Idea of scale and presence. Each had an information panel which referred to the object/work. You may need to

At the beginning of the MA during the collaborative project I looked at mapping , narratives and landscape. I looked at ' Georges House' as a case study for a focal point. I was intrigued by the use of local clay's and their use in building both houses and functional ware within them. I suppose these thoughts about location, personal histories and clay being'of the earth'and a metaphor for time took me further along this path. Images of the clay pit and a cob wall. Other lo

I have been thinking about using bodily fluids, meat & bone Within clay to fire out as additions, but these things have covered so many times in so many ways and I had to make practical judgements for the kiln and toxicity of gasses. I was intrigued though by the chemical reactions involved in heating calcium in bone and the proteins and nitrogen in blood.

Description of Project My intention is to investigate and explore the properties of ceramic material and organic burnout during the firing process. I will be using personal and pertinent organic materials within the body of the clay. The intention of this work is to burn away the ‘positive’ physical object and leave negative space within fired ceramic test pieces initially. I intend to link this with location, whether this is specifically a landscape or particular location. I

One thread of reasoning I am thinking of following is the collection of items from the common, where I walk my dog daily. This sounds quite inane but the reasoning behind this is that I hoped to track and time in a way, through collection. Things change markedly over the year within this space. In some ways the 'common change' marks the time for the locality whether wildlife, local society or general atmosphere of this landscape.

The artist's fear of politics or being in the world… - Dr. Judith Stewart

Extracts from ; Nicolas Bourriaud: Relational Aesthetics. Paris: Presses du réel, 2002. ISBN 2-84066-060-1

It became increasingly apparent, following my work in RIPU that the material use for my work in my 'WORKMAN ' exhibition, whilst being relevant, was not as suitable as it perhaps could be. To reference or embody time and the landscape or the self and memory would perhaps work better using clay. I did some experiments using coal in clay and found that the coal burnt out and left a space which was an obvious link to loss, memory and time. This thinking builds directly on the r