My sculptural forms are primarily concerned with materially, process and colour. I have collated a diverse range of objects and broken them into fragments, creating a collection of materials which vary in colour, shape and size. The process involves smashing each object against a hard surface, allowing little room for control over the break. I enjoy not knowing the outcome, picking up each piece and wondering how it will be incorporated into my work.
I came across an ancient Japanese art form called Kintsugi, which translates to ‘golden seams’ or ‘golden repair’. Japanese artists would mend broken antiques by lacing the cracked edges with gold and fixing the pieces back together. The complexity and fragility of this process inspired me to use a similar technique in my own work.
Within my practice I incorporate fragments from various painted ceramic to create new drawings, lining the sharp edges with gold and fixing them together to create a new, imperfect form. When reconstructing the ceramic pieces, I take into consideration the objects form, by following its original structure, to create my own sculptural arrangement. In their
new forms my work focuses on each object’s altered, new arrangement, heightening its value by embellishing it with gold.
My attention is drawn to circular objects because I feel the symmetrical shape adds a quality of completion. I am fond of the contrast between the blank surfaces, the golden cracks and the beautifully decorated pottery. The gold bond brings an element of value to each work; transforming these everyday objects into something elegant and intricate.