An investigation into where the worlds of judgement, guilt, disgust, nurture and the maternal*** overlap, and manifest as sculpture.**
*As yet, I am unsatisfied with the choice of descriptors in the working title, and I am searching for terminology that is more encompassing, such as:
- Jolie-laide/Belle-laide (pretty-ugly/beautiful-ugly) (although a better term would be one that doesn’t specify human attractiveness, but more a feeling, sentiment or emotion rather than an aesthetic)
- Wabi-Sabi, although it has connotations with Japanese craft specifically
- Sentiment over rationality
- Want to be picked up, despite flaws or failings
- Inclusive, everything valid, yet defying genre or order
**I am also unsure of the use of the term ‘craft objects’, but I am reluctant to pigeonhole the investigation to ceramics only.
My investigation is as much a reflection of my own creative practice, the struggles to associate myself, feel accepted and validated within the world (and professions) of visual culture. The feelings of self-doubt, insecurity and feeling vulnerable to questions of appropriateness and validity of my work and mindset, or lack of validated ‘welcome’ or ‘place’ for me and my work within the industry.
In terms of display, it is appropriate that the work is presented as a microcosm, collection or installation of everything – a world of things which exist together. This could be simply arranged in a room, depending on the allocation for the end of year show, or could have a specific structure built for the objects to be displayed in/on. For example a shelving system, a kunstkammer, a doll’s house, a playroom, a studio, a workshop, a bedroom, a shop window… Each of these has particular connotations attached, and therefore these need to be investigated in order to analyse their appropriateness.
In order to extend and explain the philosophies and theories associated with my practice and the investigation, there are opportunities for the exhibition of my work to be accompanied by the delivery of workshops or other forms of audience participation. Currently, the notion of the public all making their own sculpture to be curated and exhibited together using a small selection processes which I use, seems like an appropriate way to do this (clay hand-building, scrap wood modelling, cardboard maquette-making, etc.).