This was a lecture that we had in our Monday lecture slot. I haven’t been very interested in the last couple of Monday lectures, but I found this one interesting because I liked Zoe’s work and found what she was taking about interesting. We had already had a lecture from Natasha Mayo about herself and Zoe Preece’s co-curated exhibition; The Sensorial Object, so I already knew quite a bit about what the exhibition was about, but Zoe when a bit more into the questions that was asked to the artist for the catalogue for the exhibition, to help one enter deeper into how the artist worked and how they had created the object. It helps us discover how the artists relate to their material, their process and how their space governs the development of their ideas. The questions were as follows-
Can you identify the start of your creative ideas?
Can you it entity how your chosen material has formed your ideas?
Can you describe your relationship to the material does it change?
Can you identify the nature of interaction with your materials?
Can you describe your working space what do you do with it how do you relate to it? Are you able to pinpoint change with interaction of materials?
I thought these questions were very useful to note down because they are questions which I could ask about my own project work, to help me convey my ideas more clearly and explain my thought processes more clearly in a final exhibition, enabling people to enter into how I work, hopefully making my project more interesting and appealing to viewers.
I really like Zoe Preece’s work. She explore the liminal space through objects, making them look like they are both solid and liquid exploring the moment that something is changing from one form into another; solid into liquid. Preece achieves this effect by exploiting the highly transformative nature of ceramic processes; as the artist has noted, ‘within the confines of a kiln, solids can become liquid, clay can become glaze, enabling the resulting artefacts the potential of displaying a mid-state condition.’ By manipulating the kiln’s temperature and using varying degrees of ceramic flux applied to the porcelain clay, Preece is able to arrest the process at a point where the object’s form has started to disintegrate. The resultant works appear caught between states, teetering on the threshold between solidity and fluidity. In this way Preece’s ceramics give the notion of liminality or in-betweenness concrete form. I find this very interested and I am fascinated by the effects she has been able to create, making a solid look like liquid. I would be interesting to explore using flux in my own ceramic work. Maybe using it to create a functional product with a difference, or liquid appearance, possibly relating the appearance of a liquid state to the function or environment of the product.
(Info from http://www.axisweb.org/features/profile/mastars/zoe-preece/)