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Work in progress, some words, and other artists I like. You might even find the odd recipe.

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In a few weeks, Winter magazine comes out. You can get an advance copy at a reduced rate and support the project, which features 100% creative content from over 30 artists.

I photographed a ceramic series entitled The Bones of Winter that will be featured exclusively in the magazine, but here’s a glimpse of one of the ceramic “bones” I sculpted for the installation.

For a Man Indifferent to Poetry.

Rhyming is pointless.
The words also, indifferent.
But the feeling excited my mind, words gushed out.
Forgive me,
this poem is a love poem
trying to be something else entirely.
Perhaps
you’ll notice a bit of green bursting through the pavement
a bouquet of letters
clasped tightly in my grasp
and thrust clumsily in your direction
for you to re-arrange at will.

 

Picasso The Flowers of Peace 1958

Picasso
The Flowers of Peace
1958

 

 

 

 

Tactile. They almost look like ceramics. By Doug Johnston.

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*from Design Focus

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You’re sure you left it right here, right where you’d never remember look.

And you know you’d never look back here, right? You’ve checked the attic, the basement, the barricaded room with “leave these things in the past” scrawled on the door in your handwriting. You’ve ransacked the drawers of the shed in the garden, cleared the drop-all in your frontal cortex, you’ve fanned through the pages of your books and shaken them out for a clue, combed through your journals, practiced self-hypnosis, stared with intent into the swirls of your coffee and now you’re really starting to think you’ve made this shit up. You’re starting to think. So it’s back to square one because you shouldn’t be thinking at all. What you do know is that you definitely didn’t hide it in your conscious brain, and therefor it can’t be in any place you can think of.

You really wish you’d left a hint now. Don’t you? Wait a minute – what is it that you’re looking for? Ah yes, you don’t know, that’s the whole point. So you reach over and start to fumble through the glovebox again, this time with a renewed faith, keeping one hand on the wheel, keeping your eyes on the road, your mind trying to make out the shapes of things you’d forgotten; a frantic and curious negotiation that permeates through the membrane between what you know you know and what you’d forgotten you didn’t want to know.

All the objects that you come across seem to be clues, crumbs left to lead you in the right direction, and so you start to collect them, talismans, amulets, memories, an absurd and compulsive voodoo archeology taking place in your mind.

More photos and pieces from the series here

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I’ve been invited by Le Salon, a gallery in Nice, to take part in an exhibition next month and have decided to involve visitors in making an interactive story on the themes of the exhibition: “Fétiche, Totem, Tabou et Divan” (Fetish, Totem, Taboo and Divan). Each theme will be an individual story, and I’ve been compiling phrases from some of my favourite books to use as material.

The way it will work, is that I will start each story off with the first two lines and also give the last sentence, so there is some sort of direction for the interpretations. The selected phrases from the books all gravitate around similar themes and locations: a bedroom, a staircase, thoughts on nakedness and desire, philosophy, relationships, love and the senses. Each excerpt from the books will be printed on a sticker (in French) and I will invite visitors to choose from these which should be the next line of the stories. This will create a kind of exquisite corpse as the stories grow through the participation and interpretation of each visitor.

The last story, “Divan” will differ slightly in that it will be a script; a conversation between two people, kind of like the Bubble & Broccoli piece I did a while back.

“Figues de Barbaries” is the overall title I’m giving to the piece. The term, which is the French name for prickly pears literally translates as “barbaric figs”, bringing up connotations of savage practices or bearing fruit but not without consequences. It’s a random selection from a list of potential title words I keep in one of my notebooks, words that I like or that I have crowd-sourced from my friends. Random titles are part of another absurd experiment: they automatically lend another layer of meaning which resonates with the piece through the associations it makes in the viewer’s mind. This is a method I also used in the Love Letters love letters series and that I push further by actually giving the various dictionary definitions of the title word.

Books used are:

• Milan Kundera Risibles Amours, La Plaisanterie
• Franz Kafka La Métamorphose
• Roland Barthes Fragments d’un Discours Amoureux
• Vladimir Nabokov Lolita
• Patrick Süskind Le Parfum
• Lao Tse Tao-tö king
• Anaïs Nin Journals Intimes
• Cioran De l’Incovénient d’être Né, Syllogismes de l’Amertume, Précis de Décomposition
• Plexus magazines de 1966 à 1970
• Various proverbs, extracts from anatomy books and onomatopoeia.

For my next project, I’m photographing sea shells. I don’t have a soft box, but came up with this really simple trick and it’s such an elegant (and cheap and handy) solution for small objects/macro that I have to share it:

Just cut the bottom off a white plastic cup, and presto! You have a soft box.

To see how the project turns out, find me on Facebook - I dropped off the film for dev. today (Kodak Ektar 100). I’m hoping to print them using a special darkroom technique too… stay tuned.

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I’ve taken two weeks off to prepare for the exhibition and I’m pushing the last stretch. Four days left of full-time creativity and I’m loving it! I receive frequent, feline inspections for quality-control. The pencils smell fine, it seems.

February was my sister’s birthday. I wanted to make something special for her and felt inspired by one of David Hick’s ceramic pieces, thinking it would make a beautiful necklace. As I translated his piece into small Fimo beads, I realised this didn’t represent my sister much, and set out to make another piece that would embody her spirit: bold yet sensitive, romantic yet modern, polished yet rough. I imagined it very clearly – and made it for her. The work sparked a desire to make the style of my drawings come to life in clay through a series of ceramic jewelry. The dialogue between the sculpting I’ve done and the drawing has installed itself in my atelier for the past month and as I go from one to the the other, they influence each other in the most satisfying way. It’s good timing, as I’ve just been asked to do an exhibition at Lot 10 Gallery in June and I know exactly what I’m going to show. Lots of work to do till then though!