Walking around, having the core sample on my mind, I seem to see them everywhere. It is also interesting to see other works outdoors and to think about location and siting of work.
I wasn't aware of this work by Michael Fairfax, but it has many similar themes and ideas to the work I intended to produce. I like the fact that he is dealing with archeology and time in a similar way . I'm also considering sections of work after seeing this.
So I have been to the Sedgwick museum today to have a look at some geological examples. I was particularly interested in going to see the core samples they hold but was a little bit underwhelmed. However, it was very interesting to see the 'inclusions' to the rock samples like shell or other rocks but also to see how pressure and heat changed the rock, creating faultlines and different strata.
What was also really interesting was the fossilised plant matter. it reminded me of how I want to include organic matter in the clay to burn out and these fossils seem to show echoes of the material that was once there. This would be a long process too which hinted at the time aspect of my work but they also reminded me of photography and cyanotypes, again capturing time. there is a strange link here as one of the samples I was interested in is from portugal, where I was involved with ceramics last year!
Diane Horne- working in Cardiff.
I was interested in her construction techniques and how she was able to 'print' onto clay with such similar qualities found on an etched paper surface. we discussed how she did this and her studio in Wales.
Sarah Villeneau and Wendy Campbell- .Interestingly, the 'fine art ' pieces had been displayed in a different area to the ceramics 'for sale' (more vessel like , or pieces of work often found in gallery shops rather than 'installed'). This felt almost like a role reversal of what is found in the usual gallery setting. I had long discussions about how their work sat together and the construction techniques used.
I had a long discussion with Stephen Murfitt a ceramicist from Ely about how he fires larger pieces of work and he told me about building a gas kiln in sections which I think I would like to try as the piece i intend needs to be figure size.
I had a short conversation with Chris Keenan who worked with Edmund de waal about production potting with porcelain.
I also spoke to Matthew Blakely about how he broke down rocks to make surface glazes. Mathew is someone who I would like to have a longer discussion with as our work has similar concerns about material and location. I found out that he came across an iron bowl and rod which he uses once the rocks are heated.