This project pursues different ways to explore the transformative potential of clay, in both a material and theoretical sense. The focus is on the opportunities that clay offers in its various modulations. A way in which the material reveals itself primarily for its physical properties rather than their conventional uses.
Through various operations of alteration and activation, it is the clay itself which is invited to reconsider. The work veers away from traditional considerations of form to grasp the material regarding potentiality and virtuality. Far from presenting matter as determined, this project condenses the different times which overlap in it, but also the various interpretations and narratives it may give rise to.
Although working with a traditional craft material, the proposal is to engage a performance approach. This strategy can be seen as a hybrid activity, where making takes place, but the production of a permanent artifact is not a concern. The combination would yet result in a residual artifact (or artifacts) that becomes a kind of trace of the
The created texts, artifacts and the documentation of their production process would be exhibit as an installation. An intimate setting is proposed, a situation that opens up a reading of the work where we engage with the material at a one-to-one level.
Firing is the climax of the traditional ceramics making process, which can also be regarded as a process of socialization. It is capable of preserving the immediacy of the work, especially the sense of bodily presence. This attempt to permanently change the properties of clay produce a temporary sensory revelation such as the generation of sound, smell, and structural modifications.
Fired ceramics shows a particular sense of continuity as if the artifact itself embodies and conveys a haptic memory. In this project, it is proposed an exploration of the potential for the direct physical transformation of clay from a raw state utilizing domestic electrical systems in a series of process-based experiments. The use of nichrome wire allows the clay to be fired from the inside out, transforming this socialization process in a social event.
Firing one cube of soft clay a day #1 [Installation]
27th – 30th July 2017
Stoneware clay, ceramic, non-clay non-ceramic material, nichrome wire, electricity.
Cube of clay being fired with nichrome wire and 12V. Fired cubes from previous exhibition days. Booklet with 300 quotes from different kinds of texts (academic papers, essays, poetry, data sheets)
Scenario #2 Pottery wheel
Is the clay controlling what is made or is the potter controlling the material? When should the modelling process stop? Is the potter who is waiting for the right form to arise or is the clay the one deciding according to its physical properties? In the pottery wheel, the movements are captured in the clay, forming it directly. It is this flow which enables the body of the potter, to navigate upon the surface of clay with a minimal need for storage and internal processing. It is proposed to work with the same amount of clay, keeping it wet and plastic, exploring simultaneous activities of making and re-making. This experimentation proposes a bridge between material, neural and cultural plasticity; racing questions about agency in creation and decay.
Traces of past and future in the present
Fire clay from the inside
Skin / Flesh
Nicrome wire +1000c