mid fire slip, white gloss glaze
25 x 25 x 18cm
The mixing bowl combines two functions, the internal rounded bowl to assist hand mixing and the external“kicked out” form to aid the bowls stability. This almost double skinned form was achieved by slip casting. Openings cut within the lower bowl sides enable the bowl to be lifted and in addition reveal the rounded underside of the bowls exterior curved form. The capstan like form of the bowl was originally suggested by an image of a cooling tower.
Crafting through design is designing through a tacit understanding of material processes and behaviour. These understandings become inseparable throughout the history of artifact production, one advancing with the beat and rhythm of the other, hand in hand. In some eyes the idea of Craft and that of Design sit defiantly at opposing ends of the production spectrum, a perception that has shifted over more recent times. While the former suggested a makers tradition the latter became a celebrity offuture things. Both are humble actions, of skill, knowledge of the hand and intention, and considered planning. Seen in this context both are partners allied in creativity. Within my work l seek to develop and optimise a deep material awareness within a functional Design /Craft practice. During the past fifteen years my practice has diversified , enabling me to explore a range of materials, principally ceramics but also wood, metal, pitch, and felt. While l have always employed materials in an economic way, l am also very conscious that any interventionl employ within a design be fully in keeping with the potential of selected materials. I aim for as sympathetic an intervention of design into the the materiality as is allowable. In this way the finished artefact attains a purposeful disposition. I enjoy the ‘idea and concept of tool making, of collecting and crafting materials to assist a requirement. Combining an economy and efficiency of need together with a materials versatility to provide a coherent solution, a “right” object that functions, communicates and appeals on multiple levels: Visual, tactile, olfactory, process, fitness for use, historic and memory. My focus has always been attuned to ways in which any given material can manifest primary form, the ways by which the simplest material manoeuvres like the resultant trace of an action, become somehow true and seemingly natural. Such actions include bending and folding the simplest means by which a material can be transformed from a two-dimensional sheet into a functional three-dimensional form. I am inherently a practical person / thinker. l recall a childhood of exploration andexperimentation of the material world. It is difficult to categorise and limit our experiences and understandings of our environment and needs. I believe they are all interwoven in the most intricate patterns, each in some way connected and informing all we do. Wishing to become a graphic designer , llater realized the potential of three dimensions and instead trained as a furniture designer. My trainingthrough a foundation year added a bonus: textiles, ceramics, silver smithing, photography, art history, and visual studies, an education that awakened many possibilities. l transit between disciplines carrying with me a kit of skills, a bag of understandings, applying those that seem appropriate and experimenting with others. Materials manifest multiple behaviours and qualities providing a rich seam of potential as both individual and allied material expressions. My intention becomes clarified through the actions and knowledge my hands provide.