The whole question is bugging me, probably I’m too close to see myself in my work, maybe you don’t have to be in your work.
I realise why I just respond or simply work objectively. Without that I have no set of rules no direction or finishing point. The relationship between myself and the object or sitter defines the process and the outcome.
Not unlike the process that creates a moon jar.
I was drawn to it instinctively it made complete sense.
It is a pregnant form Emblematic of my interests.
Without that process of correction creating outcome in place my cerebral functions become a stream of unbridled imagination.
I am in a dream or nightmare in a process that has no outcome other than production.
My interests are domestic, hearth, home, the vulnerable, women, pots, flowers, fruit, food, family, furniture, nurturing and daydreams of moments in my memory, utopian dreams.
In that way, I reexperience my memories and reconnect to my past to answer and question my future. It’s not nostalgia it’s more critical than that.
I’ve always asked why too much, closely followed by how, and in many cases next. I do need to slow down and dig- being not so quick to dismiss an idea may slow down my production and allow me to take my practice into a more rewarding and fruitful era.
Whisky ask what was the connection between my self and these bowls. They are my talsis men they ward of the darkness and give me weapons to survive. I each bowl I have explored a different taste of where my thoughts about ”vessels” and ”Virtues”
Raised as Roman Catholic I was taught about virtue, as it pertains to the Virgin Mary, a mother a spiritual being. I cannot help but look to other cultures and compare these ideas of woman hood.
I admitted in my crit last week that it was a bit of a struggle to keep looking for a world class crisis like Mark Bradford as I was bogged down with my own domestic crisis of children, laundry, wifery and trying to manage. The Magna Carter and all my high, lofty ideas, historical, contemporary, legal flew out of the window and I was reminded of a Greek play I studied at school 40 years ago. Just my favourite play and it is relevant. So pulled from the past (400bc ish)to help me solve the present and plan for the future.
”LYSISTRATA Written by ARISTOPHANES”
”My dear, they’ll come. It’s hard for women, you know, To get away. There’s so much to do; Husbands to be patted and put in good tempers: Servants to be poked out: children washed Or soothed with lullabies or fed with mouthfuls of pap.”
Link for the full text here – https://www.gutenberg.org/files/7700/7700-h/7700-h.htm
Pablo Picasso Met.
I have avoided exploring my fears or dark matters as they paralyse me, I find exploring and the possibilities of hope a positive pursue which invigorates me and even amuses me.
Mark Bradford wished his work was less autobiographical- I understand the sentiment, it makes you feel vulnerable.
Is my work painting or contemporary practise?
This will be my question for the week-My feeling is that it is both.
I did some asking around to see if I could find a bit more direction.
I’ve discarded the stretcher making and am happy on the wall hung canvas. I think the flat gesso tiles are too complicated. I am really finding the natural paint which smells while I’m painting is interesting and I will explore it further. I have researched the moon jar glaze and I’m happy they the combination of silica and either zinc or titanium is close enough to my chalk and paste base paint. I looked at using John Cullens technic of the narrow beamed light to make the pot look as if it was glowing. It’s is too theatrical. I’ll use paint.
Luisa has pointed out that I want my work to be attractive and that I should turn away from that outcome as it weakens the outcome.
I do need to explore that but have a reticence as it feels akin to masochosim.
”I want to look out as and explore our crisis points, ” Mark Bradford explained, translates to I want to explore that which worries me and why does it exist? This raises the question in us and we wonder what will make it better. He feels that representative imagery diverts the viewer from his question in hand as generally, it raises questions of his race, gender and physicality which he does not want to discuss.
I may be both abstract and figurative I have found refuge in the non-figurative which has allowed me to explore in a more critical way- less encumbered.
My Husband says his ”subject is out there, it’s not about me, well maybe it’s about what I see out there. Danger out there between men and woman, daydreams- films have been called an empathy machine.” He loves film noir and says ”Drama is about jeopardy, without the strife, there would be no drama and that would be boring. There are exceptions to every rule though and I generally think you paint wait you seek or what you fear.”
After a lot of thought I’m happy to explore my world through my pots bowls and jars and hope to find some answers to my why what and how and just how that applies to me. Now I’m going to ask my mother.
Sarah Chalkie Cloonan 