8th June 2018

Revised Artist Statement

 

“Loneliness is safety. Fear is disappointment.  Everything, everyone has the capacity to let you down.

 

Is it important that every language, every word is understood? Is it possible to feel connected, feel moved or empathise with things we don’t completely understand?  Does every word/artistic gesture have to be grammatically correct in order to be validated or legitimate?

 

These creatures exist in a state of material conflict: jolie-laide, ugly-beautiful, cute-gross, honest-ambiguous, yet each one is exactly as it is meant to be.  Their world is a haven from the rationality and expectations of others. They accept their imperfections privately, yet they are shy and feel highly vulnerable to the expectations of others. In loneliness they feel their safest.

 

If they rely on being accepted by others they must change, adjust, edit themselves… or face the inevitable disappointment of not being good enough.

 

They are me.”

 

About me:

 

I work in ceramics but often using conflicting or disassociated materials and process, while expressing emotive narratives of loneliness and self-preservation, alienation and judgement. I enjoy being cheeky and defying conventions through my work, such as using car paint to colour my ceramics, rather than traditional glazes, or presenting my work on sugar, for example. My work is associated with jolie-laide, as well as pop art and design art, yet tries to make a statement about the apparent insistence of being absolutely understood or validated by others.

 

13th March 2018

WIP Show Artist Statement

 

Martin Williams

Instagram: @cafedelmartin

cafedelmartin@gmail.com

 

“Sandbox”

 

Ugly, uncomfortable, unfashionable, imperfect, out of place… it doesn’t matter – everyone is welcome.   Although we are surrounded by talk of inclusivity and equality in our culture, why are these ideals of legitimacy often ignored when it comes to our things?  There is a tendency to look a gift horse in the mouth; to hide the chipped mug; to separate our things into tribes of what belongs together and what doesn’t. ‘Sandbox’ intends to discuss this through sentimentality, empathy and zoomorphic objects, in a world where everyone is legitimate, none are turned away or separated.  They all belong, they are all welcome.

8th February 2018

WIP Show/Library Display

 

Working Title:

  • “Everyone is welcome”

Working Project Proposal Title (ideas):

  • Expressing and challenging conflicting feelings through zoomorphic sculpture
  • Expressing Investigating (autobiographical) feelings on inclusivity, coexistence and legitimacy through making and curation of sculpture.
  • Identifying why I make what I do, what it says about me, and what I communicate through my practice.

 

Objects to display:

  1. Ceramic Cast Jellybean – Magenta cast (+)
  2. Ceramic Handbuilt Jellybean – Yellow (+)
  3. Ceramic Black cup or Broken Cup (+)
  4. Ceramic Purple tactiform (or blue) (+)
  5. Ceramic mini Tactiform (+)
  6. Ceramic Blue Cactus (+)
  7. Wooden Robopants
  8. Metal Plughead
  9. Masking Tape Coral

 

Other/more materials (to consider/experiment/make before WIP Show)

  • Wax – make wax Tactiform or Jellybean
  • Card – pangolin hat style
  • Paper – papier-mâché?
  • Tape – more figurative?
  • Plasticine – make Tactiform or Jellybean
  • Metal – ???
  • Plaster – carving, whittling, casting

 

Ideas of how to display, and why:

  • In a round/crowd – conversing, mingling, participating
  • On grass – symbolic of existing in an environment – their land, world, microcosm, but a world we as people share too
  • In a house/dolls house – all living under one roof
  • A kunstkammer – a curious “world” where a range of wonderful, diverse and not-necessarily related (serialised) things are display and exist as they are
  • A selection (curated), based on maintaining diversity and equal distribution of all kinds of objects… but this makes the work quite ‘exclusive’, maybe.
  • All objects ever made by me… logistically quite difficult! Can this be played with, for example, by objects ‘overflowing’ a shelf, or starting to take over a wall, or defying gravity, etc?
  • Simultaneously displayed collections – the same objects, or different? How are these separate ‘worlds’ decided upon?

 

Feedback from Oscar, 08/02/18

  • Titles are a little clunky – broaden and then gradually decide which bit is the most important part to express/unpack.
  • Try to think about how critical my question/position of enquiry is – does it allow me to question, critique, investigate and analyse my process or approach to finding something out (ie is it objective)
  • Collage and bring in as much stuff as possible
  • A variety of forms, materials and processes makes for a more confident direction, and allows for greater objectivity
  • Could each of the three display opportunities be approached differently (I.e. try a different thing, arrangement, objects)?
  • How does the notion of simultaneous ‘worlds’ affect the notion of inclusivity and legitimacy?

 

Key words, and how to clarify what they mean to my investigation:

Legitimacy – what rules, laws, regulations? Can my choices be defended with logic, rationality or reason?

Inclusivity – how far do I pursue or press for inclusivity? Where does it end?

Coexistence – living in harmony, despite differences (ideologies, interests, species…)

Curation – how can curation still can make an exclusive statement, despite pursuing inclusivity?

Conflicting feelings – responses to texture and aesthetics such as recoil, adoration, inquisition, tentativeness, etc… is there a better term for this?

 

Next steps:

  1. Build strength of argument through contexts:
  • How have other artists/sculptors displayed collections of their works (retrospectives, etc.)?
  • How do other artists deal with questions about aesthetic differences between types of work they do (Damien Hurst, perhaps?)
  • How can a range of different objects (aesthetically, thematically, chronologically) by the same artist?
  • Have other artists used a kunstkammer or similar approach to displaying a range of objects/works? Why?

 

  1. Collate as many of my objects as possible
  • Start to assemble collections, photographing different combinations
  • How would these collections ‘overpopulate’, aesthetically?
  • How would these collections work when there is imbalance of certain types (i.e. too many blue things, too many ceramic things…)

 

  1. By Wednesday 14th February, ensure most of the objects I want to show are together, and bring to university.

1st February 2018

Proposal Rewrite

 

Working title:

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
  • Cute/gross
  • Charming/disgust
  • 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.).