My ceramic practice is rooted in a contemplative approach to making - is a spiritual practice. Deeply intertwined with (and at the same time is) my research practice, the making process is moretime lengthy, with the majority of these artworks being crafted over multiple years, from its initial form to its final glaze firing.
This approach is informed by a desire to feel time outwith of colonial logics, corrupting the experience of ‘knowing’ time. In chorus with Black, diasporic knowledge and imagination I engage with these ceramics as living notations, activating objects, totems, ground-ers, resisting.
This approach is informed by a desire to feel time outwith of colonial logics, corrupting the experience of ‘knowing’ time. In chorus with Black, diasporic knowledge and imagination I engage with these ceramics as living notations, activating objects, totems, ground-ers, resisting.