So, you probably already know by now that I am participating in a challenge on Facebook where potters are asked to post three pot pictures for five days and also nominate another to do the same each day – and I am also sharing these pictures with my wordpress readers – that’s you 🙂
I have been taking a nostalgic approach to this challenge and have been sharing pictures that reflect my development over the years… from my early self taught days through to my Honours Year at Uni. This journey, I think, shows the development of my work over the years, but also illustrates the basis of my major influence – the natural environment. These posts show a movement from functional ceramic wares through to abstract sculptural ceramics while still capturing nature and all she has to offer, and in later work, what is in danger of being lost.
Today’s images feature my PhD works– 2005-9. The title of my PhD was Sacred Space in Contemporary Society: the Artist as Sharman, and can be downloaded and read HERE. This thesis was a natural progression from my Honours thesis which questioned the role of ceramics in the 21st Century. My PhD thesis asserted that sculptural ceramics installed in the natural environment – an installation – could act as a conduit reconnecting humanity to the Earth – an act that is required if we are to stop using & exploiting the environment. The research was framed within a feminist framework, exploring the patriarchy that has allowed the unstemmed growth of capitalism and exploitation. In this context the artwork was developed to sit within the landscape, not overpower and dominate, as does much modern patriarchal sculpture.
You can check out my original post on my Facebook page, and even follow me if you like what you see 🙂
Until my final post tomorrow….
This video is a walk through (as the viewer would experience it) of my PhD installation which consisted of sculptural ceramics installed in the natural environment at my property in Dunnstown, Victoria, Australia.
The research and subsequent installation was based within a feminist framework, supported by the theories of new physics and evolutionary psychology which purports recognition of universal symbols and universal connections.
Clay was used as an organic material to capture the innate connections and nuances that humans have to the environment.
Installation as an art method was used to create an environment which could act as a conduit to the viewer re-establishing their inborn understanding of their place in the universe.