15. Room
APPERCEPTION.
A collection of intimate objects which speak to the duality of trauma and joy. Through re-enactments, the works embody sensations I experienced from a sexual assault whilst pregnant last year. The representational qualities of the forms transfigure the pieces into a celebration of my experiences with my baby, reclaiming my past.
Ceramics are typically perceived as fragile and static however I intend for this exhibition to be playful. Consent is granted to the participant to engage with the multi-sensory works, with care. Their placement in a room, at awkward heights and in the periphery dictates an intimate encounter. This change in consideration counters my experience.
BODY
During this process, a variety of hand gestures and techniques are implemented into the objects. These processes speak to various actions surrounding the assault and aftermath; massage, groping, pulling, protest, purification, cocooning and/or calming. In order for these embodiments to be achieved authentically, I am working directly from the clay. I am crafting the forms in a manner that makes full use of dexterity by adjusting the pressure between my hands and the clay without the intervention of tools, slip or other joining methods. I squeeze, clap, push, pull and smooth the body to manipulate and extract the form. In using my hands to manipulate the clay I am reclaiming the actions of my perpetrator and taking back control thus redefining the experience. What began as more of a direct correlation to the traumatic component has morphed into a calm, cathartic practice that has manifested into a form of protection for myself and my objects.
SKIN
The application of colours or slip refers to another collection of symbolic processes. The actions of dipping, pouring, and wiping are self-referential acts of cleansing. Whilst these applications coat the surface of the body it is done in a manner that highlights the scars, marks, and prints in the body. An indication that no matter what is enacted after the event, the psychological traces are never invisible.
SHIELD
This is the final layer, it’s the symbol of strength or future knowledge. The high gloss surface acts as a repellent to the porosity of the surface below. The glass permeates the viewer's gaze from seeing or touching the surface directly. Its refractivity inhibits the true dissemination of what lies beneath.
PRECEDENTS
Tiny Wonders, Narelle White (2022)
