Water colour paper, tracing paper, stitch and clay.
I have started to develop the clay pressing possess further by layering printed maps of Pateley Bridge and Nidderdale landscape (printed on tracing paper) onto the clay drawings. By using stitch with gold embroidery thread to pick out various roads, paths and waterways the introduction of these forms are now represented in a physical form. The prick marks appropriate symbols on the maps themselves of public rights of way. The juxtaposition of both the topographical clay markings and the tracing paper printed maps appear to sit well together.
In today’s society we are enticed into the hyper-reality of the digital world. The fictitious gratification that this creates is compromising our awareness of each other and the world around us.
Combing the two elements of time spent with the AONB Conservation Group and the construction of a recycling building at Horticap I hope to draw attention to the physicality of the land itself and the individuals who engage in processes that directly manipulate its materiality.
After the clay has dried and the loose pieces discarded the different organic content of the clay is revealed. The varied textured surfaces and tones emanate the topographical aspects of the landscape in a real and more physical sense. The materiality of the clay holds the substance of humanity; we are borne of the earth and return to it in death.
Clay from the land at Horticap has been an inspiring material to work with. Its inner textures and organic tones generate a need to be revealed.
The most simple of process often reveal the most interesting outcomes. These images show the results of pressing pieces of clay in-between watercolour paper. After the clay has dried pressing the paper together again cracks the hardened clay, resulting again in a very topographical form reminisent of images of the landscape (Google Earth) maps and boundaries,