![the ritual creature maquette the ritual creature maquette](https://i.pinimg.com/originals/ad/de/54/adde54763cfbc6851aa897b0f5c3e50d.jpg)
Residency 2020: British Library, Qatar Foundation Project.Residency 2020: Trying Out Drawing on New Laptop.Mitigating the Impact of Coranavirus on the Delivery of the Project Proposal.
The ritual creature maquette professional#
![the ritual creature maquette the ritual creature maquette](https://i.pinimg.com/474x/81/28/8c/81288c61fae9073044c19723ee2cf05e.jpg)
![the ritual creature maquette the ritual creature maquette](https://i.pinimg.com/originals/8e/3d/54/8e3d5490244d357a279b82937787cae0.jpg)
I am stepping into both domains, is that not how belief works, constantly moving between reality and the ideal? What is the relationship between reality and the ideal, are they entangled or separate, joined only in our minds? I could argue that the earlier approach transcends the everyday into a different plane of existence, belief and imagination, but is the narrative I am building not based on the immediacy of a world that is beyond my grasp and yet I feel is ever present? Should this immediacy not be reflected in the process a directness of making that the earlier approach would occlude by virtue of its aesthetic form and finish? However, if I am to keep the sense of preciousness of a sacred object, making the piece in porcelain would be enough to transcend the conceptual content. Made using simple technology that challenges the skill base of the maker to bring together the spiritual and the everyday, the imagination and the earthy, the touchable essence of material. I also feel that the ‘skeletal’ piece, apart from being potentially lighter and easier to display, is more visceral, closer to the ethnographic artefacts that so engage me. After all, I could also show the sleek model as an idealisation in contrast to the reality much in the way that religions work and can give rise to ambitious and magnificent sacred art. In the end, on a large scale, the degree of detail possible offers a perhaps more interesting making experience. If I were to go with the more recent idea, it would present different technical problems and perhaps lead to new discoveries. This is yet another example of my dialectic between the rational and the emotional. This would be more in keeping with the idea of layered interpretations I have talked about in the project proposal: to open out rather than enclose the narrative.īoth approaches are valid. By this I mean that it may engender a greater curiosity, catalyse more questions. On a large scale I feel the skeletal form, shown beneath, may be more interesting. The conversation I have been having with Taiyo comes to mind, in which I made a distinction between interest, meaning and significance. It is the sort of thing one would pass on to technicians. I would be reproducing, more or less, the form on a larger scale which would be more of an engineering problem than artistic one. On a small scale the above form worked well and looks elegant, but on a large scale I felt that it may present as impressive but boring. Yesterday I worked on the idea of creating a porcelain sculpture that lets light pass through.