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Ceramicist / London

“Signs of fragility, vulnerability and individuality are exposed in the handmade object. My ceramics investigate how rapid sketching becomes more animate and anthropomorphic with repetition and how this translates into sculptures of pottery. Early European porcelains of Meissen and Sèvres are my reference – but these symbols of perfection eliminate the mark of the maker. Disrupting, simplifying and transforming these objects with the imperfect touch create a bare essential caricature, exposing a raw rudeness. Exploring the idea of the pot as a relic, womb or a container for precious objects, certain elements become pivotal. The opening may be an orifice or a wound, the belly may be swollen with imaginary contents or a paunch bulging above a tall, narrow stem with an elevated foot may emphasise insecurity. Interaction with the material is a two-way process. My practice of making, destroying and remaking parallels cycles of decay and renewal. I build, soak, push, squeeze, break, cut, tear and repair. To destroy and rebuild allows a lack of control, increasing motion in the making. The construction methods remain visible, similar to that of drawing, erasing and adjusting. Porcelain is chosen for its purity, sensitivity and paradoxical qualities of fragility and strength. It has its own energy during the firing. Surfaces are often painted with layers of coloured porcelain slip to present a skin-like membrane. Digitally printed ceramic transfers together, with glaze and gold leaf allude to the porcelain’s history.” – Susan Nemeth