accident and rawness versus knowledge and technique - part 1

Some time ago I created a fired sculptural piece. I had never done anything like it before. I wasn’t following any rules and I had no expectation of a result other than my acceptance of what would emerge from the kiln. 

My piece was about the natural atomic process of Spallation, an explosive reaction between high energy charged particles and solid matter. The collision expels particles from the object hit.

Taking this as a starting point, together with the wider background of global warming, Joanne’s work and our collaboration, I chose my materials carefully. A ceramic paste which I created using only ingredients that represent our project and some metals which signify the industrial (a contributor of emissions) and its damaging impact on global climate. The creative process was important too, involving intense heat, the unusual pairing of materials, melting, the risk of explosion, cooling and the transformation from something into something else.

I was, and still am entirely happy with the result, it encapsulates all I had wanted it to and works well assembled with further bits to form its whole. However, there are technical ‘improvements’ I could implement if I were to do it again, tiny tweaks which would make it even better.

Or would they?

Giving up control and embracing the accidental is not always straightforward. But replacing expectation with possibility is exciting and can be exceptionally rewarding.

Spallation, version 1

The alternative is to fabricate particular results, making certain things happen to engineer what you want. But at what point does refining chance become a ‘manufactured’ outcome?

To see if I can find out, I’m making another version using knowledge gained from the first process to advance and ‘strengthen’ the second. So will it be a too-precise-imitation of the original, lacking authenticity? Or will it keep the true soul and all that I love about my enabled-but-largely-random piece?

Find out next time 😊

Spallation, version 2

Ready for the kiln once thoroughly dry.

revelation - a world inside my rock

Wow! This beautiful, colourful photo takes my breath away. To finally see inside my rock experiments via the microscope, this close up, is just amazing! And there is so much to take in.

The revelation of natural crystal structures under polarised light shows a multitude of intricate, intertwined shapes and colours. And, incredibly, these change when the specimen slide is moved. As light filters through the translucent rock section, it refracts and reflects to show varying colours according to mineral content. It reminds me very much of the kaleidoscope I had as a child and is just as mesmerising too!

This is a whole new world for me to investigate. As I begin to understand the visible changes I’ve made to the rock’s natural state, I will experiment further and continue to follow wherever it leads me next. This long photo is from a different part of my section and shows the incredible variations in just one slide.

For now I’m getting excited about exploring ideas and today I’ve started with painting. Working quickly with larger brushes on a small scale, I’m just trying to be impactful with shape and colour, not detail. Many works will result for quite some time to come I feel, it will be a long while before I exhaust the countless possibilities!

From studies like these come paintings, so building a collection of them to develop and draw ideas from is extremely worthwhile. Some may not be taken any further, however the act of making them is both valuable to me and rewarding.

These last two photos (below) are from some of my thicker specimens, just magnified not polarised. Still hugely interesting, even ‘space like’ in appearance adding yet another interesting dimension!

almost there

I’m super excited to see where I can take my creative thinking with this. I can’t wait to view the results of the ‘geological specimens’ I made (see previous blog), when seen under the polarised light of this amazing piece of equipment. I may take a little while to familiarise myself with getting the best from it, as this is a new area for me, but I will be back soon to share what I find!

the next step

Taking my fired samples to the next level involves some serious time at the grinding wheel.

preparing to go under the microscope

My intention at the moment is focussed on what I can see - and what I can’t yet see - in my samples. So to that end, I have received some valuable help from an extremely generous, knowledgeable and capable University Technician. And for this I am immensely grateful.

cross sections: there is a super rich clarity to the crystal shapes of the granite rock here, with my addition showing up well. The beautiful green colour is entirely natural…. yet it has the the same chemical make up as the surrounding rock which doesn’t show any green at all....it's amazing!

With his help I now have two, properly prepared section slides which I can view under a microscope. And I am super excited to see what I find, particularly under the polarising microscope. These slides look almost black and white to the naked eye but watch this space for what comes next, I can’t wait!

the reveal

Opening the kiln after a firing is a tense but exciting moment - what will be found? Will your hard work still be in one piece? and as anticipated? or will there be a lesson learned among the exploded shards or melted remains of your latest creative endeavour.

Thankfully, working with rock rather than fine pottery, my emphasis is placed on seeing what happens more than calculating specific outcomes. This allows me to work with the accidental and leads to all kinds of unexpected results, often taking me in completely new directions.

But for the moment, having opened the kiln, I now get to open the rocks…..

And I love what I find! The water saw slices through my fired geological mash-ups to reveal some completely unique, new stone specimens. These have been made in relation to the research I’ve undertaken into Joanne’s geochemistry work in Antarctica, which involves granite. I’m continuing to explore ways to portray the story of an invisible process that takes place within this rock and provides readable information useful to predictive modelling for climate science, in this case linked to sea level change.

These results have surpassed my hopes for what I wanted to achieve and will lead me to try something more in the development of ideas. But the next stage is to polish these samples and put them under the microscope for a close-up peek at those beautiful shapes and colours!

in the workshop

With my new addition to the workshop this month, a lovely pillar drill, I can at last bore into some rock safely!

So I’m continuing to explore what happens to granite under heat and the drill is a great addition to my preparatory tool kit. It will allow me to expand what I can do, both physically and within my creative thought process.

Different minerals within rock such as granite produce incredible abstract imagery when viewed under a polarising microscope. The colour and pattern of juxtaposing crystalline structures are fascinating! Intense heat and the rate of cooling, within the natural processes of rock formation, contributes to this crystal growth. What will happen then, when I add materials and reheat it?

Experimenting with kiln temperature and the addition of materials will produce unknown outcomes. But I’m excited to see what I will create, and how it will appear when sliced and viewed through the polarising microscope.

More to follow!

additive sculpture

The art of the sculptor conjures images of chipping away, at rock or maybe wood or plaster. The term ‘additive sculpture’ however, refers to the building of sculptural pieces by assembling different elements together.

Influenced by my explorations around industrial legacy and global warming, my two sculptures featured here tell their stories in the materials used.

I’m delighted they will be displayed at Glynn Vivian Art Gallery this Spring, in the Swansea Open exhibition 2024.

‘The Matter of Time (Cause and Effect 2)’

Materials: Natural Breccia rock (from a glacial period), ice (no longer present), Pewter, canvas, sea water, sea salt.

‘Writ Large in Black and White’

Materials: Industrial waste Copper slag cobble (Anthropogenic rock), Limestone, Anthracite coal, white cement casts, steel wire, stainless steel rod, ice (no longer present), Pewter.

chione's torment

‘Chione’s Torment’ evolved from thoughts, feelings and research around the pernicious demise of ice, the lifeblood of our planet, through human exacerbated atmospheric warming. This existential struggle is brought to life as hot vying with cold, piercing and insidious, exceeding scientific parameters and breaking through a thin veil. By making this imperceptible reality visible, it becomes incentive for change.

In Greek Mythology, Chione is Goddess of snow. The Ancient Greeks made sense of their surroundings by creating gods to whom they assigned responsibility for earth, its materiality, natural forces and the subsequent shaping of mankind. Their premise, that all is interconnected, is a conviction we have sadly lost, to our detriment. Restoration of equilibrium between beings and being is needed now more than ever and art is a catalyst.

Acrylic on canvas, 2023

130cm X 100cm

deep time

At home in Berwickshire recently, where I grew up, I visited Siccar Point just to the north of St Abbs Head. Having enjoyed the TV series ‘Men of Rock’by Prof. Iain Stewart, I have for a long while wanted to see James Hutton’s Unconformity where the concept of deep time was born. In 1788,  amateur geologist Hutton discovered an example of the layering of rock which proved his theory that the world was much, much older than the biblical 6000 years generally accepted at that time.

Two different types of rock, the first in vertical layers formed and folded around 430 million years ago, are covered by horizontal layers laid down around 360 million years ago. They have no physical space between them but an invisible age gap of some 65 million years exists between them.

From my point of view it’s a cracking example of the ‘invisible within the visual’ where 65 million years, which actually happened, are present only in their absence!!

It’s mind blowing stuff and, although Hutton is now known as the father of Geology, at the time as an amateur in the field, he was ridiculed by the ‘educated’ classes and his theory stamped down.

See my page here on how re-balancing the value of the absent is integral to my work.

anthropogenic rock

Limestone cobbles are the dominant rock found along our beaches on south Gower. However, amongst the wide ranging mix of other rock types present, there are some peculiar specimens! One in particular has both intrigued and baffled me for quite some time but now, finally, I have discovered what it is. And it is an incredible find with enormous relevance to my work.

This material has been rounded by the sea, is filled with visible crystals and pitted with holes just like its neighbouring pebbles. But this is not natural rock, it is actually a waste product from the once dominant Copper industry in Swansea Valley and was used as ballast.

Copper ore was imported to Swansea by ship from places such as Cornwall. After offloading their cargo these ships needed to replace the weight to safely navigate their homeward journey. The waste slag from the copper smelting process was ideal for this task, being a heavy material of ready supply and having no other obvious purpose.

And so it would end up on our beaches, because when no longer needed it was dumped at sea.

The pieces of this man-made rock I’ve found are many and varied, in size and appearance. Most are blackish in colour with obvious pale crystal formations throughout. Some show flashes of green copper which hints at their origination. Some are rough with vesicles, the small indentations formed by gas bubbles at great temperature. Others are smooth and metallic looking, or indeed are combinations of the above! Obvious layers are sometimes visible too, as different minerals have crystallised out towards the top. It’s fascinating human created geology.

This anthropogenic rock epitomises all that I’m looking at in so many ways, not least the interplay between industrialisation, melting and the sea. It has many layers of meaning and is something I have begun to explore in conjunction with other materials such as pewter (below) to speak loudly of our current global warming predicament.

less is more

Sometimes it pays to quieten the mind and simplify. It’s easy to become distracted by detail and tangled up amongst a weight of information when exploring ideas, so tuning out occasionally is something I embrace.

I’ve kept things simple here by choosing only three materials and working intuitively with them. When brought together however, these comment on the vast issue of global warming. This piece incorporates geological time, a direct link to the West Antarctic ice sheet, sea level rise, nature’s ability to provide solutions, industrialisation and the destructive hand of man. It is rooted in this place, coastal Gower, an object of appeal which tells of destruction yet also resilience and hope.

Copper, limestone & marram.

negative to positive

Some clay negative imprints taken recently at Pobbles Bay have fired well. The Barnacles, fossil shells and sea-worn pebbles of the ancient raised beach have all left good, strong impressions.

To make positive casts from these tiles I combined a ready made pale clay with some of the wild, glacial clay I previously collected from nearby Three Cliffs Bay. Deliberately not amalgamating the two very thoroughly is an experiment to see what happens. The result, when fired, will be a colourful surprise.

Having dusted the negatives with powder to help release the pressed in clay, the positives appear white in places. This dust will blow off when dry and anything left will burn off in the kiln.

I really like these first attempts at turning my negatives back into positives, the detail maintained is way better than I had expected. There is no loss of surface texture on the pebbles, or to the ridges of the barnacles. And the spiral of the fossil shell is nicely distinct.

I’m already thinking of ways to incorporate metals with the fired pieces, although it is something I will continue to mull over and then have some fun experimenting with!

The fired clay is certainly colourful and for an initial trial the results are hugely promising. Time will tell where I go with this next!

rock impressions

Making the most of dry weather to take some clay imprints of rock at beautiful Mewsalde Bay, Gower, this week.

Dusting rock first with something such as cornflour or fine chalk helps to prevent the clay from sticking - mostly!

I managed to get some interesting shapes and can’t wait to see them become an integral part of something bigger, either as negatives, as positives or a combination of both.

evolving array

Something occurred to me while searching through my materials shelf this week. These raw ingredients, along with the new elements I am producing from them, deserve some showtime in their own right!

Arranged in groups, this display shows clay, sand, rock and ore in their natural state. Alongside them is their processed state, shown as vitrified glasses, lava and ceramic, also metals, cement and sea salt. In some cases several of these have been mixed together to produce something completely new. This always excites me and yields way more than just physical substance for use in artwork. It provides space for the inception of new ideas, the pushing of boundaries and the chance to move things forward in unexpected ways.

I look forward to continuing to mix and match, apply varying temperatures, change conditions and stand back to see what happens. There are several more compartments to fill, who knows what with?

atoms in motion

Bike cogs and old chains, some rusty steel reinforcing grid and two, time-worn wooden coast path planks. What treasure! What potential!  

What?

Well, kinetic energy at an atomic level is central to Jo’s chemical analyses. This is hugely complex science but is fascinating and a jumping off point for thinking outside the box in creative terms.

For some time I’ve been mulling over how to provide insight into one particular process, which relies on kinetic energy and is undertaken by incredibly intricate equipment. A cutting edge machine, controlled by computers, uses precision engineering and pinpoint calibration to produce results. And none of this process is visible.

So with this in mind, I have begun creating…………

Bringing together elements of process, mechanics and materials, with movement generated by human interaction, breathes life into an otherwise hidden method of data collection. Set against its broader rationale and placed within the context of both my work and Jo’s, this is my metaphorical take on one hugely important analytical procedure.

‘Atoms in motion’ will be included in a new video showcasing my work, coming soon.

sleepwalking

I’m delighted to share that my painting ‘Sleepwalking’ has been selected for display in this year’s Swansea Open exhibition at Glynn Vivian Art Gallery. The 2023 exhibition runs from 28 January until 16 April and will showcase a huge and diverse range of creativity. It is a fantastic opportunity to view work from artists practicing throughout the greater Swansea area and will undoubtedly provide great food for thought and much to discuss.

Sleepwalking: ’engaging without interest, enthusiasm, or awareness of the possible consequences’.

Thoughts..

Incredible work is underway world wide to turn things around when it comes to global warming, which is truly inspirational. 

However, that we persist in sleepwalking towards an intensifying situation of environmental ruination is the stuff of nightmares, and on a primal level, difficult to shake off.

https://www.glynnvivian.co.uk/whats-on/swansea-open-2023/

congratulations

Huge congratulations to Dr Joanne Johnson, my collaborative partner who has been awarded the Polar Medal in the New Year’s Honours List of 2023!

This is amazing news and I am so delighted for her. The prestigious Polar Medal is awarded by the Sovereign of the United Kingdom for ‘outstanding achievement and service to the UK in the filed of polar research, often over prolonged periods of time and in harsh conditions.’ (more at: https://www.thegazette.co.uk/awards-and-accreditation/content/103898?utm_source )

Joanne is one of five BAS staff, and the only female this year, to be recognised ‘for their scientific work or their technical support for science, in order to improve our understanding of Antarctica and enduring Antarctic conditions.’ (more at: https://www.bas.ac.uk/media-post/bas-staff-awarded-the-polar-medal-4/

See Joanne’s announcement of her news and what it means at https://twitter.com/geologicalJo/status/1610653939237617666

In the relatively short time I’ve been following Joanne’s work I’ve observed her unwavering dedication to her job whilst at the same time balancing family and a private life. That’s no mean feat, especially working at such a high level with practical science, academic pressures and of course Antarctic conditions to contend with. I have immense admiration for you Jo and I hope this brings you enhanced recognition for all that you do.

Dr Joanne Johnson, Polar Geochemist

Joanne Johnson has worked for BAS as a geologist and geochemist for 20 years and has spent seven seasons in Antarctica. She specialises in using geochemical techniques to reconstruct the past thickness and extent of the Antarctic ice sheet. Understanding how the size and shape of the ice sheet has changed through time is critical for ground-truthing models that will help to predict how fast the Antarctic ice sheet will contribute to sea-level rise in future centuries. Joanne is most familiar with the Amundsen Sea sector of the West Antarctic Ice Sheet, having undertaken multiple field campaigns there since 2006. She currently leads the Geological History Constraints project of the International Thwaites Glacier Collaboration and actively shares her work on Twitter.

Joanne balances her passion for Antarctic research with looking after her two school-age children. She has worked part-time for the past 13 years, and hopes that through receiving this award, she will be an inspiration to others contemplating both parenthood and a career in research.

https://www.bas.ac.uk/media-post/bas-staff-awarded-the-polar-medal-4/

talking rocks

Talking rocks? Yes, on both counts! In this short film I talk about my work, the influence of the geological landscape around me and Jo’s scientific research. As a geochemist Jo extracts information from rock and evaluates it with chemistry. Rock is an actual record of earth’s evolution, it holds stories in its make up which tell us of everything that ever happened. Imagine!

For those who can read this information - geologists, chemists, physicists, biologists - there is a treasure trove of detail to be revealed. And what’s more, this hugely valuable resource from earth’s dynamic past can help us to understand potential environmental scenarios likely to occur in the future. Looking at this from a creative point of view, the possibilities are endless!

Filmed and created by the brilliant Vinny Stelzer

ammophila arenaria

Wandering through dunes down to the sea is something I enjoy very much at any time of year. Alive with birds, insects and plant life there is much to observe in this diverse coastal ecosystem.

Sand dunes are dynamic, tempestuous and transient entities which are both created and eroded by the same natural forces. Wind, rain and waves are responsible for constantly shifting and shaping loose sand, sometimes on a monumental scale.

Dunes help to form a protective barrier between sea and land and thus play an important role in the slowing of coastal erosion. The stabilisation of sand dunes is therefore of crucial significance, not least because the frequency and severity of storms is now increasing exponentially.

It is well known that nature is a force to be reckoned with in its power for destruction, but nature is also remarkable in its ability to provide organic solutions. One such example is the prolific coastal plant called Marram grass (Ammophila arenaria). Its densely matted root system plays a vital role in helping to anchor loose sand, creating much needed stability within the dune system in a wholly natural and environmentally friendly way. This also allows other species to colonise and thrive resulting in a unique and diverse habitat of enormous value close to the sea.

With all of the above in mind, I’ve recently been working with Marram grass and pewter amongst other things. Not only is this an amalgamation of natural and man made materials, it is indicative of the hand of man and the contribution that industry has made to the deepening imbalance now present in our biosphere. Our warming planet is set to become a progressively more volatile planet, so, with the severity of coastal erosion increasing globally due to rising seas and the escalation of erratic weather, can marram grass continue to hold back the tide?

hidden story

Walking the beach at Port Eynon recently, a striking cobble caught my eye. At first glance it was attractive but on closer inspection I realised there was much more to it than first met the eye.

Plain at both top and bottom it contained a remarkable speckled central ‘band’. These different layers of rock show an ancient dynamic geological history, with changes occurring in the types of sediment laid down. The coarser grains in the middle show a higher degree of energy in the sea at the time, for example stronger current or waves. The finer sediment above and below show calmer, more tranquil, conditions.

This reading of the rock resonates with me as it directly reflects one of the study mechanisms currently being used by the International Thwaites Glacier Collaboration . By examining sediments in the sea where the glacier ends now, this data will contribute to determining when there was last ice cover in the sea above. Different sedimentary layers are created according to whether there was glacial ice present above or not. Coarser deposit layers show there was glacial ice extant above at the time, finer sediments were laid down when there was clear sea above. Some fascinating detail for me to play with artistically, using different approaches!