Clay Contortions is a small series of works comprising of flat biomorphic ‘swirly’ polymer clay sculptures, and digital renditions of them.
Clay and sculpture are the ongoing investigation within my practice so far. Conceptualising such materials has dictated my ideas and processes. Additionally, the body and performance are prominent which also influences how I have come to understand sculpture. Conflict and the contrasting materiality of clay within sculpture were my concern. At this stage, my interest in sculpture is centred on intimacy of the self and using performance to extend the meaning of the sculpture.
I questioned, how is the body a concern in my work without the figurative imagery being present within my flat clay sculptures? I interpret the digital renditions of the Clay Contortions to be Biomorphic. The digital renditions were reminiscent of cellular and microscopic imagery, and the circles are representative of life.
The meticulous nature of forming the flat sculptures of Clay Contortions served a sense of intimacy between me and the process. However, the absence of figuration in these pieces made me question the intimacy of my body. I formed a dialogue with the Clay Contortions where abstraction without figuration called for the need of performance with the body, almost compensating for the initial absence of the body. Furthermore, creating digital renditions of clay work instead of comprehensive material exploration portrays an obstacle I experienced. In order to grow artistically through this, I decided to form the sculptural performance ‘Obstacles of Intimacy’.
Looking at ‘Paris Review’ (1993- 1994) by Louise Bourgeois, the organ like red blotches that lean into each other are in a sort of embrace with the larger circular areas of the piece. The organ like shapes and the notion of embrace is also evident when I look at Bourgeoisies’ sculpture ‘Couple I’ (1996). Both works also share the conventional representations of masculine and feminine: with the pink and blue of Paris review and the masculine and feminine fabric of Couple I (lace, collared shirt etc.). Comparing these works is important as it allowed me to understand how the more 2D parts of my work can address the part of my practice that is more sculptural and performance based, especially in regards to using the body.
YURN
‘YURN’ is a small polymer clay sculpture resembling a fragmented urn from the ‘Clay Contortions series’. ‘YURN’ comments on the act of collecting fragmented memories and how that facilitates the feeling of yearning. We do not experience the world directly. Instead, our perceptions and experiences are always partial and incomplete. The recall of past events takes the form of memory fragments rather than complete narratives on the unfolding of events. The urns timeless perseveration of past life and memories, and the pursuit to mend a broken urn through the clays capacity for reuse, recreates the process of yearning.
Digital renditions of clay contortions are flat clay sculptures that have been scanned and/or digitally edited.
