Developing work/ Proposals - Week 3 @ Winkhill Mill - 16.2.18
Week 3 - Developing Work
16.2.18
The developing work is starting to be shaped by the formal qualities of the mill. We've captured images of objects that we've found most interesting from our visits that are noticeably important to the workers at the mill. These artefacts are crucial in the process of tile production. Fearn has been looking at the 'crank' an important tool in the firing of ceramics. Her current experimentation involve replicating the crank in metal. This renders her re-cast useless in a ceramic context as metal can't be fired in the kiln with the pottery.
Here she challenges the value of these objects when its purpose is transformed. In the mill the object acts as a relic, a celebration of the refractory cranks whilst simultaneously perceived as a useless artefact. Whereas in another context, the formal qualities of the object will be restated for other purposes i.e shelves for other artefacts. Is this a social phenomena? A relationship to objects and a community understanding of an object's specific function. This could be interesting to research further to nourish our residency experience.
We've both taken an interest in some cardboard stacks located in plain sight at the mill. We learned that during the height of pottery production in the city, this particular part of Winkhill Mill was where the packing and distribution of tiles took place. As an undervalued, mundane object that the workers' memory of the place centers around. We thought it would be provocative to focus on this minor element and re-new its importance to the mill.
The aesthetic qualities of the stacks adopt a similar directional/ linear visual effect to my 'motion blurred' images I made prior to the residency. I decided to merge the conversations in my practice with the visual dynamic of the mill. My prior work dealt with fleeting moments in specific sociological scenarios. My images offered abstracted, unfamiliar versions of familiar places which reflects upon our human relationship to location. In the context of the mill, abstracted motion blurred images of the place can reflect on the transient history of pottery production in the city and the familiar traces it's left behind.
In addition to this, I mention on the public blog; "Fit and positioning is so far meaningful in the installation of the works. As we're lacing the visual aesthetic of our own contemporary art practices with the conditions of the environment, its important for us to consider and stay sensitive to how these stark contrasts might start to blend with the environment." This details our awareness of space and how our arts practice might blend with the dynamic of the mill. We hope that the work strikes a balance between our contemporary art offering and the liveliness and history of Winkhill Mill.
16.2.18
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| 'Crank Print' - Amy Foster, 2018 |
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| 'Stacks 2 Print'- Amy Foster, 2018 |
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| 'Stacks 1 Lasercut' - Amy Foster, 2018 |
The developing work is starting to be shaped by the formal qualities of the mill. We've captured images of objects that we've found most interesting from our visits that are noticeably important to the workers at the mill. These artefacts are crucial in the process of tile production. Fearn has been looking at the 'crank' an important tool in the firing of ceramics. Her current experimentation involve replicating the crank in metal. This renders her re-cast useless in a ceramic context as metal can't be fired in the kiln with the pottery.
Here she challenges the value of these objects when its purpose is transformed. In the mill the object acts as a relic, a celebration of the refractory cranks whilst simultaneously perceived as a useless artefact. Whereas in another context, the formal qualities of the object will be restated for other purposes i.e shelves for other artefacts. Is this a social phenomena? A relationship to objects and a community understanding of an object's specific function. This could be interesting to research further to nourish our residency experience.
We've both taken an interest in some cardboard stacks located in plain sight at the mill. We learned that during the height of pottery production in the city, this particular part of Winkhill Mill was where the packing and distribution of tiles took place. As an undervalued, mundane object that the workers' memory of the place centers around. We thought it would be provocative to focus on this minor element and re-new its importance to the mill.
The aesthetic qualities of the stacks adopt a similar directional/ linear visual effect to my 'motion blurred' images I made prior to the residency. I decided to merge the conversations in my practice with the visual dynamic of the mill. My prior work dealt with fleeting moments in specific sociological scenarios. My images offered abstracted, unfamiliar versions of familiar places which reflects upon our human relationship to location. In the context of the mill, abstracted motion blurred images of the place can reflect on the transient history of pottery production in the city and the familiar traces it's left behind.
In addition to this, I mention on the public blog; "Fit and positioning is so far meaningful in the installation of the works. As we're lacing the visual aesthetic of our own contemporary art practices with the conditions of the environment, its important for us to consider and stay sensitive to how these stark contrasts might start to blend with the environment." This details our awareness of space and how our arts practice might blend with the dynamic of the mill. We hope that the work strikes a balance between our contemporary art offering and the liveliness and history of Winkhill Mill.
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