Further musings on the found object which is continued from last week where I was pondering on the readymade which resulted in the assemblages below .....
|#25 of 222 Grips for a Stone detail|
|#25 of 222 Grips for a Stone|
The clay object in the image above bares marks of its function and use and traces of the lives who have handled it. Finger prints of unknown people have left their trace, embedded and imprinted on the earthenware clay. The latch too, shows traces of wear. Green discolouration on the brass suggests the age of the object because it has acquired a patina of time. The rusty water marks show that it has been exposed to the damp with other iron objects, and it possibly was immersed in water for a prolonged period for the rust marks to be transferred onto the brass.
The objects have become endowed with interiority and a memory, things become stories of people, work and lives (Frow 273).
These traces allude to the presence of absence. The finger prints point to an absence of the people who made, handled and shaped the clay. The patina on the latch suggests the once presence of water and dampness. Both contain a sense of geological and human time.
|#23 of 222 Grips for a Stone|
|#24 of 222 Grips for a Stone|
|#26 of 222 Grips for a Stone|
Whilst the works in these images are not finished (the clay needs to be fired, the handles attached, and ideally I would like to suspend them from the ceiling) it gives you the idea of what I am working on at the moment.
|View from my studio|
We have been experiencing some delightful autumn weather, and I captured the quintessential Haligonian view from my studio: cruise ship, tug, and a transport carrier of some description.
Frow, J. A Pebble, a Camera, A Man Who Turns into a Telegraph Pole, Critical Inquiry Vol. 28, No. 1. Chicago: University of Chicago Journals, Autumn 2001)