disinterred : dug up, removed from a tomb; exhumed, (a secret, hidden fact) brought to light; exposed
this slice of time,
cycle sliced, is the blink of an eye in its lifetime.
The 2 minute edited film shows the re-burial of the clay as pinch pots.
I disinter, unearth, local brick clay and process it through washing and sieving, then drying and kneading (wedging). I then make an unplanned number of palm sized pinch pots in the form of small cups or tea bowls, each one its’ own form, but each time I make one I learn something about making all of the ones before and the subsequent one.
Repetition is intrinsic to my understanding of loss and gain.
Whilst the repeated replication and interaction with the cereal bowl represented a version of me and my identity dealing with the loss of a significant other, and the loss therefore of my assumed role, the pinch pots represent gain. Each varying load of clay makes an unknown quantity of pots. The hoard of pots once made is buried and the next load of clay taken up and the next lot of pots take form.
The pots embody time taken to make them, the logic of learning through technique. But they are a part of geological time, a time beyond my comprehension. I have sliced into the millions of years old clay and formed it into these vessels of my self for the blink of an eye.
repetition can also be a mode for stasis. dependent on the individual and their own process of assimilation to a new state, a new reality, repetition of movement, memory, behaviour, can reflect a desire to deny the changes which occurred in this way the work could be read as a request for motionlessness,stability, inertia, continuity, stillness, balance.
This project allows me to deal with notions of detaching from, or rather not attaching to, objects and people.
Upon reflection this work could be seen as my way of lingering in a place where I can deny future possibilities, and also control the past by attempting to keep it static in my psyche.
(There is a full 13 minute film posted separately,)