piypoy.

Lotti V Closs / http://www.lottivcloss.co.uk

I use the term partial environments to describe the structure of display I use in groupings of objects.. It is a kind of climate, which reiterates key elements (gesture, form, material, colour..) to create a kind of rhythm between works that can flow into one another but also highlight independence in character. I am really interested in the idea of animation and myth making through repetition, and experimenting with subtleties and exaggerations of qualities. I use the word partial to try describe the proposition of a space, not fully formed, more fragmented and less prescriptive... - Lotti V Closs / http://youngartistsinconversation.co.uk/Lotti-V-Closs

i) Berth (2015) Alabaster, Serpentine, Copper

ii) Twelve Humps (2014) Soapstone

iii) Stoop (2014) Rubber and Alabaster

BEN CAIN: DOWN TIME 11 APRIL – 15 JUNE 2014 As part of A New Reality: Part 2, this exhibition of new sculpture, film and performance works explores ideas around what ‘work’ is, or has become, utilising work-related paraphernalia from the past. In moments of ‘down-time’ energy-generating systems produce excess energy that is stored for later use. Cain would like to consider waste production and non-productive activity in relation to self-preservation – examining acts which might be knowingly futile (in that they realise or manifest nothing in terms of material output) but nevertheless provide a sense of engagement with the production of the material world.

Anchored by two sculptural installations in the first floor Atrium and gallery spaces, artworks within Down Time will relocate around The Tetley, be replaced and be added to over the course of the project. The project incorporates a series of events exploring these themes.

Cain’s Tool Amnesty took place on 31 May 2014 on ‘The Slab’ an empty piece of land adjacent to The Tetley which was formerly part of the brewery’s production line. The installation was comprised of hand tools to explore ideas around what ‘work’ is, or has become, utilising work-related paraphernalia from the past.

Philip Rawson: Artist and Educator, NAEA Exhibition at Yorkshire Sculpture Park 07.15.2015

Images 1-4 from Ceramics by Philip Rawson

Image 5 “Drawing through Space” What generates the life of a pot?: Philip Rawson presents vital clues to the making of fine ceramics. (from) Studio Pottery Issue 8  

Anton Burdakov, Assembly

Sarah Worgan, Cermamicist, UK

 http://sarahworgan.com

Exhibiting at British Ceramics Biennial, Stoke on Trent until November 2015:

Claire Twomey 

Is it Madness. Is it Beauty, 2010

“Clare Twomey’s Is it Madness. Is it Beauty is a work that marries perfomance with ceramics. The piece is about the futility of human action as 500 un-fired ceramic pots are gradually filled with water, causing the pots to disintegrate and spill their contents.”- http://www.craftscouncil.org.uk/artists/clare-twomey-1 

Ceramics event as part of Acts of Making a touring event by Crafts Council England

Daniel Silver, DIG (2013) ‘An abandoned, overgrown landscape in central London is the site for a new Artangel commission by sculptor Daniel Silver. Evidence from some kind of archaeological endeavour is lying around; figures and fragments, pieced together. Made in a range of materials including marble, plaster and terracotta, the figures have been worked by hand; modelled and then eroded and deformed. Some seem to have strange, unnatural growths. They appear to be both ancient and modern. What were they doing here? What are they doing here? What belief system might they embody or watch over? Are they sculptures of gods or men? Like unearthed objects from an unfamiliar culture, Silver’s sculptures do not give up their secrets easily. One starting point for Dig was Silver’s fascination with Freud’s collection of sculptures. Freud kept an 'audience' of some of his favourite figurines - Egyptian, Greek, Indian, Asian and African - on his desk in his consulting room, watching over him and his patients as they dug deep within themselves. Freud often referred to archaeology as a metaphor for his own practice of uncovering desires and phobias. There appear to be different layers of excavation in Silver’s project: Digging into the role of figures of worship, idols and fetishes within different cultures, including our own; and working through the evolution of sculptural forms across time and place, losing old powers and acquiring new meanings as they are fragmented, pieced together and multiplied. Built in the early 20th century and originally the site of one of London’s largest Odeon Cinemas, the Grafton Way site of Dig has been empty for many years. Dig is Artangel's most recent site-specific commission with a young British sculptor. Over the past two decades, other commissions have included Susan Philipsz’s Surround Me (2008) in the City of London, Roger Hiorns's Seizure (2008 -13) originally in a council bedsit in South London and recently relocated to Yorkshire Sculpture Park, and Rachel Whiteread's House, completed 20 years ago in October 1993. Commissioned and produced by Artangel with the support of The Henry Moore Foundation with thanks to University College London Hospitals NHS Foundation Trust. Artangel is generously supported by Arts Council England and the private patronage of the Artangel International Circle, Special Angels and The Company of Angels.’

The Hepworth Wakefield

Caro in Yorkshire

YSP