Graduation Project
2020 - 2021
First Class Sculpture BA (Hons), Edinburgh College of Art.
Awarded the Clason-Harvie Bursary.
Selected for RSA New Contemporaries 2023.
First Class Sculpture BA (Hons), Edinburgh College of Art.
Awarded the Clason-Harvie Bursary.
Selected for RSA New Contemporaries 2023.
29/09/21
“establishing an understanding of not only the application but the sourcing of material.”
“I hope to create sculpture that is quiet and thorough.”
“establishing an understanding of not only the application but the sourcing of material.”
“I hope to create sculpture that is quiet and thorough.”
The Kunda Pair - Lipped Vessel, 2020, Ceramic.
The sourcing of material from an area of
landscape formed my practice. Geological and archaeological papers have informed my actions. Working with clay through all it’s stages holds an
essential weight in my sculptural approach.
The landscape of Estonia was new to me. To be able to navigate this place and find the material key to my practice I had to learn of it’s geology. I discovered the Cambrian seam. This seam runs along the North Coast and is around 500 million years old. It was formed during one of the most influential evolutionary periods to the development of the human species (Marshall C. R. 2006).
Finding and digging the first piece of Cambrian clay at Kunda was the beginning of this project.
The landscape of Estonia was new to me. To be able to navigate this place and find the material key to my practice I had to learn of it’s geology. I discovered the Cambrian seam. This seam runs along the North Coast and is around 500 million years old. It was formed during one of the most influential evolutionary periods to the development of the human species (Marshall C. R. 2006).
Finding and digging the first piece of Cambrian clay at Kunda was the beginning of this project.
18/11/2020
“Through analysis it has been found that when these women moved to a new place they took with them crushed sherds of pottery from their homeland, from the generations before them. ... Allowing for their work to carry time upon time. Working containing the work of those before is again carried into new work and so on and so on”
The Kunda Pair, 2020, Digital Film of Installation, 5 minutes 38 seconds,
(full version available at: https://youtu.be/yd2LFpI_OSs ), Filming by Ali Madani.
The empty ancient lakebed that is the present-day land of Kunda is the starting point for this body of work. The traces of the lake and its inhabitants are entered into conversation with, through the materials and forms present. The river is the remaining artery that continues to flow through the land. Prehistoric artefacts have been preserved in the peatlands and mounds that have formed through the evolution of the landscape. The clay of Kunda continues to be mined. The relationship between the waterways of Estonia and the mining industry have heavily impacted the political and social identity of the land’s inhabitants.
The waterways of Estonia have played an influential role in the country’s social history and culture.
The past and current presence of water and extensive mining in the area of Kunda has resulted in it holding several important historical contributions to the evolution of Estonia’s people. Notably, the Phosphorite War, spurred by the threat of mining polluting a key watershed and changing the demographic, contributed extensively to the re-independence movement of Estonia, resulting in it’s freedom from Soviet rule in 1990.
29/04/21
“After installing I walked away. ... I thought about the empty space that the lidded box held within it, that was now existing under and within the earth of the old island, for however long before it dissolves and collapses in on itself.”
“walking down the slopes of the hill, being able to feel the gradient through my bodies reaction to it, how steep or shallow it was. I have rarely felt such a fascination and curiosity for a specific hill.”
“After installing I walked away. ... I thought about the empty space that the lidded box held within it, that was now existing under and within the earth of the old island, for however long before it dissolves and collapses in on itself.”
“walking down the slopes of the hill, being able to feel the gradient through my bodies reaction to it, how steep or shallow it was. I have rarely felt such a fascination and curiosity for a specific hill.”
Votive offerings have been made to the
wetlands of Kunda in the past, treating water bodies and earth as
transcendental spaces, paths into the afterlife, a medium of connection between
our world and the greater powers.
A key intention in my practice was to find a way for the vessels I make to be held. Initially I presumed this would have to be a built structure.
I realised that the structures that have always held the pots are people. Until they are left, and then they are held by the landscape.
Another site of an installation, Hiiemägi, travelled to on foot, once held the lake of Kunda in. The remains of its burial grounds are crumbling into the quarried basin. It’s name translates to sacred hill.
A key intention in my practice was to find a way for the vessels I make to be held. Initially I presumed this would have to be a built structure.
I realised that the structures that have always held the pots are people. Until they are left, and then they are held by the landscape.
Another site of an installation, Hiiemägi, travelled to on foot, once held the lake of Kunda in. The remains of its burial grounds are crumbling into the quarried basin. It’s name translates to sacred hill.
A Pot for a Mound on Hiiemägi, 2021, Digital Film of Installation, 2 minutes 42 seconds.
In their
migration their traces are scattered. Engaging with the history of potters from the
earliest human settlers on the land. The stories of these women and their
journeys over the Baltic Sea. Encountering the land as a container of knowledge, history, lives
passed and continuing.
Sacred places, collapsing burial grounds, and past islands that are now sloping hills in flatlands. Searching, touching, digging, and through it finding a sensitivity and a deep sense of care.
The Lammasmägi Burial, 2021, Digital Film of Installation, 2 minutes 11 seconds.
Sacred places, collapsing burial grounds, and past islands that are now sloping hills in flatlands. Searching, touching, digging, and through it finding a sensitivity and a deep sense of care.
01/12/20
“It has taken me a while to find the meeting point of function and expression in pottery in a way that is not overstating in any way that might be naive or unnecessary. I have been looking for a modesty, an understatement ...”
22/01/21
“The work is now out into people’s homes all around Estonia. I feel very warmly about this. It could really be felt how much people are connected to the land of this place.”
There are gestures
of gratitude in the work.
Lucie Rie’s moon jar was brought from
Korea by Bernard Leach, “a gift to a deeply-loved friend” (Olding, 2017). Travelling
through many lives and exchanges it is a form that embodies the anonymous
craftsman and subdued beauty, continuing to hold an emotional message after the
passings of both Rie and Leach.
The wild
clays are dug, carried, and re-distributed. Works return to their source.
12/10/20
“From my journey and my carrying I feel an emotional attachment and engagement to the material. The memory and physicality of sourcing it provides me with a full understanding, not only of the clay itself but of the landscape that I am in and interacting with.”
“From my journey and my carrying I feel an emotional attachment and engagement to the material. The memory and physicality of sourcing it provides me with a full understanding, not only of the clay itself but of the landscape that I am in and interacting with.”
28/04/21
“There is absolutely no one up there. The moor runs and runs until there is a sharp drop, and after that large flat fields of farm land. It catches all of the wind coming in off of the sea up there."
The
short film Water
and Land expresses through words, making, and the environment of installation
sites, the relationship between my actions, and my research. It captures the
experiences of walking through the place as I learn and make around it. It
serves as both a finished work and a demonstration of my research practice.
The approach towards my practice has taken the form of a residency. I have learnt about my new environment through making and researching. The changes in circumstances of this year have not been easy. But it has resulted in a body of work that is in motion, actively moving through it’s installation.
The approach towards my practice has taken the form of a residency. I have learnt about my new environment through making and researching. The changes in circumstances of this year have not been easy. But it has resulted in a body of work that is in motion, actively moving through it’s installation.
Water and the Land, 2021, Digital Film, 12 minutes, 19 seconds.
Biographies
are found, created, and remembered through the clay. The land is shown to be
something at the very heart of human existence.
To look for understandings of unknown environments through the geology and archaeology of the land.
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To look for understandings of unknown environments through the geology and archaeology of the land.
08/05/21
“When you look in from the top, the space inside is like looking into a giant pit, like falling off a cliff into a deep lagoon. ... The drop over edge of the rim into the big empty belly.”
28/04/21
“The grass on Hiiemägi was flattened into waves by the wind. The only things upright were trees and twigs. The curves of the grass perfectly summed up the way that the wind moves over the form of this piece of land. ... with the passing of these trees the land has been sculpted in another way.”
Artist’s blog from the beginning of their residence in Estonia, through the winter and into the spring, providing a way to capture the movements and moments. The writing of the blog became essential to the research and process of practice.
The work Kunda Pair is paired with a piece of writing, A Life of Clay, that explores the material of Estonian Cambrian clay through the lens of an object biography. The narratives and research involved in this writing are intertwined with the making and installation of the work.
