Inspiration
My inspiration remains the Towneley woodland and the silver birches on the overgrown land of my grandfather’s smallholding. This is my sense of place and belonging where I am fascinated by the changing cycles of growth, decay and renewal. The central figure in the photograph is my grandfather, taken in Towneley woods before the Great War.
Research
One of my intended outcomes in Learning Agreement 4 was to develop my research skills regarding the life of the forest and its trees, and to spend time immersed in the woodland setting. During the last few months, I have spent a great deal of time in Towneley and beyond, closely observing the seasonal changes as documented in my Reflective Journal. I have been researching scientific findings on the life of forests through some exciting literature. Peter Wholleben for his scientific research, Jack Cooke for his humorous take on why we should all be climbing trees on a daily basis and Joan Maloof’s scientific research findings which are beautifully enhanced by Robert Llewellyn’s photography.
Contemporary Artists
I have widened my research into contemporary artists who are similarly inspired by the natural world and regret that due to the Covid 19 pandemic I have been unable to take up invitations from ceramic artists to visit/interview them in person (Wendy Lawrence, Jenny Beavan and Deiniol Williams in particular). The absence of exhibitions and shows has been a blow to us all but we have been resourceful as a group in viewing online exhibitions and demonstrations.
David Brown Robin Welch Rachel Woods
Silver Birch Project
During this last semester, I feel that I am finally “getting into my stride” in terms of my earlier struggles with form. I have completed a series of slab-built experimental tree forms, adding organic material to the clay, which has been heavily textured in order to reflect the qualities of the silver birches, constantly reminding myself not to “make a tree”. I have experimented with several oxides and glaze on test pieces and look forward to applying them when the forms are bisque fired. I have moved on from my comfort form of making (throwing), and feel a growing confidence in developing my hand-building skills.
Next Steps
I am excited about the future of the Silver Birch Project and feel that I have made a sound start with regard to inspiration, choice of materials, process, form and texture. I now need to learn from these early forms in order to REFINE my work and develop a growing sense of INDIVIDUALITY. Next semester will bring further work on form, texture and colour through experimenting with additions to the clay, the slabbing process and the use of slips, oxides and glazes in order to bring together all these elements which will hopefully result in a series of forms which capture the essence of the silver birches.
Strengths
i.My original source of inspiration remains broadly the same; it has been an advantage to have a continuous source of study and inspiration rather than hopping between possible projects.
ii. I have recently let go of my preferred (and most confident) manner of making, which is throwing and it has taken me some time to embrace and improve my hand-building skills. I feel that I have turned that corner this last semester.
iii. During this last year I have become more open and less rigid in my thinking. When I began the course I had some preconceived ideas around my ceramic tastes, the result of teaching and learning in the late sixties and seventies and a lot of time spent lone working. I feel that I am becoming more open to suggestion and constructive criticism as the course goes on.
Areas for Development
i.Record keeping and documentation. I need to sharpen up in this area of my practice. I need to take more photographic evidence. For instance, rather than consigning my failures straight into the bin, I should keep a record of them to use as a learning tool. I need to keep a tighter record when using oxides and mixing glazes.
ii. Sketchbook. It has taken me some time to get to grips with a sketchbook, my Achilles heel, as I have the “I Can’t Draw” syndrome. I have, however, begun to find ways of mark-making other than teeny weeny pencil and paper sketches. I prefer to work on larger boards and realise that it’s okay if my “sketchbook” is a large scale one.
iii. Early on in the course I realised that I was rather stuck in the past with regard to modern ceramic artists and their work and have enjoyed bringing myself more up to date through visiting exhibitions and meeting artists. All of this has, of course, been put on hold for the time being and I look forward to a time when I can resume my opportunities for broadening my knowledge in the world of ceramics today. Until then, the virtual world will have to do.
Further intentions?
I intend to continue to refine the form of my birch inspired forms and to identify the textures and colours that prove to be the most successful.
Explore the relationship between the forms, their groupings.
I have thoughts on mixed media, maybe using wire to reflect branches?
Explore the use of decal photographs, could add a real sense of place?
Still loving the fungi and the relationship between the trees and the fungal growths on decaying birches, I find the work of Xioajing Yan to be inspirational.
Groupings of forms
Bracket fungus and spores
Xioajing Yan’s bronze fungi and work with spores
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