thoughts and inspirations
process of discovery
A preconceived image is a conventional starting point for work; further developed through methodical design, the image in mind is fused with the material in hand as a conscious creation.
However, an alternative, and undoubtedly rewarding, way of starting work is without the restrictions of
preconception; restraining the urge to control with known images and specific design, allowing the unknown to emerge and evolve.
For example: on a blank sheet of paper, subliminal lines are drawn freely and without pretence, creating
inchoate noise in a silence. As the complexity of lines/noise builds up, suggestions of form, true and original, emerge and the imagination is awakened to the potential of discovery. Identities begin to surge from the chaos and irrelevant lines may be erased to define the birth of a pure form.
This form may lead to further unaffected exploration with colour and also as a three-dimensional framework of malleable wire. A skin of paper clay wrapped around this framework transforms the lines into a mass, which may be compounded with others, built on and cut away.
In a similar process, natural clay slabs are cut and joined to make elemental sections, which are then built up as a roaming hollow mass.
Work with hollow clay forms allows for both elastic playfulness and open exploration. Working without
preconception generates a liberation from imitation, genuine creativity and an inspiring process of discovery.
clays
Enabling some leeway for creative impulse, I follow two separate methods of work that result from the use
of two different clays- both require individual understanding and both evolve with distinct characters:
a natural sedimentary clay and a synthetic paper clay.
Natural sedimentary clay is an innate passion; the crude smell and cool touch, the capacity of fluid line,
sensual form and also bold, muscular mass are entrancing. 'Real' clay is dignified in essence and over-handling depreciates from the discovery of its natural presence and strength. For firing, it is built up as a hollow construction.
Synthetic paper clay is air-hardening and capable of forms built onto a wire framework. Even when fully dry,
further construction is possible, allowing for open contemplation and endless sophistication and growth of
potential form. Though lacking the intrinsic majesty of 'real' clay, it facilitates an alternative means of creation and discovery.
Both clays produce work that can be cast into aluminium or bronze.
figurative form
An initiation of creative work depends not on logic but on energy derived from desire and impulse (unconfined playfulness)- a raid on the unconscious.
The shape-conscious subconscious is compelled to create and locate shapes that satisfy an innate fascination with organic forms, particularly animal and human; form that represents a continuum and conveys an awareness of self and the world.
Figurative form is a vital fusion of physical and spiritual qualities; it inspires in human-nature a desire for
reflection and, by endowing imagined beings with life and identity, a realisation of self.
appreciation
The Frink School, Rosemary Barnett and everyone involved, held my hand and empowered me.
Jon Edgar, sculptor and fellow Frink student, works boldly; seeking with allied spirit.