Full Crimp, (Drag) Crimp, Edge, Pocket, Crimp, Eathenware clay, DIMENSIONS.
Visual details from body's interaction with (Drag) Crimp, Edge Crimp, Eathenware clay, DIMENSIONS.
Visualisation of installment of cermaic holds. Including, Full Crimp, (drag) Crimp, Pocket replicating the Mentalist, 7c. cermaics and nails. 200 x 150 cm.
Crimp, Earthenware clay with magnesium oxide and clear glase, dimensions
Testing glases and oxides
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Throughout this process, I have also been testing out Magnesium, Copper and Black Nickel Oxides and Glases on Earthenware clay. I favoured oxide's as its more natural with the matt finish, though on Crimp i have glased the final piece,
Press Moulds at Parbold Quarry
Eathenware clay is rolled on site at Parbold Quarry. Once I have coated the rock in chalk, I then directly press the clay onto the holds of climbing routes at this location. Unlike the previous intutive and imagined landscapes in plaster, I have cast the negative space from my climbing routes.
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Photogrpaphs of plaster landscapes suspended in doorways in my local woods, Priory Woods. Testing out locations, installment for objects.
Making Rope with Natural Fibers Workshop
Markmamking is obsessive and lost. Where is the journey across these plaster landcsapes?
Laying them flat became too literal. These intuitive, minature plaster landscapes are seperate from our earth, our time. The thread I wove out of dired nettle stem was a skill I recently learn't from taking part in a 'Natural Fibers and Threads' workshop. This interwove my interest in getting to know the natural land and vegitation whilst harnessing the do-it-yourself approach I had been reasearching into with Assemble or Thomas Hirschhorn's practice as a part of CP3.
By using a dremel drill or a cylinder of clay in the casting tub, I created small holes with the intention of suspendingand seperating them away from the ground, our earth, and our time
Alongside this, I was interested in the influence of their shapes and materiality of the plaster, and how might that reflect upon the context of these imagined landscapes.The continious form of the thin oval elevated the delicate natural qualtiy. Dianne, the plaster and casting technicians, warnings of the harmful qualities of plaster along with its disposable turned my attention towards clay.