Ceramic
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Ceramic is liquid stone, caught in a moment of transition. As a painting, Glaze becomes a visual manifestation of natural phenomena; a visual celebration of primordial soup. The variables of ceramic chemistry can make the task of controlling a colour or form seem impossible. There is more than meets the eye at work: from mood, minerals, to as far reaching as the weather. The irony of ceramic glaze is that many of the brightest, cheeriest palettes are in reality the most dangerous materials to work with. I like to create visual celebrations of material decadence with an existential twist.
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Vaulkos Chair
2012 Stoneware 59 x 30 x 30 cm Rachael McCallum |
PErformance
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Performing with clay is interesting.
It can be endlessly reformed and peoples enthusiasm for play makes it irresistible to be interactive.
It can be seductive, ugly, delicious and strong.
Or sloppy, cute, gross and feeble.
it's neither here nor there.
Past performances explore manners of existence (with/without purpose) and value through repeated mark making, immersion and cathartic renewal .
INstallation
experimentation
Bubbles
Bubble Constellations.
A series of manipulated chemical galaxies.
These works are only the beginning of an exploration of surface tension.
The surface; of a bubble or a droplet (or by extension, anything) is the line-less divide between densities of two compounds- be it gas, liquid or solid, within a matrix of space. With this approach, allusions to context-sensitive scale representations can be interchanged, i.e galaxies and bubbles. Tension of a droplet of water is only the skin of the material, vulnerable to everything and ready for anything. A transparent material's surface can determine light refraction, morph into any shape, diffuse, create and distort colours into rainbows.
The line that defines oil from water, air from glass, is the gap I am curious about. What if these divides are more like portals or mirrors up close (?)
"...The night is rainy and you are walking home, streetlights reflect into the puddles. Only for a moment, revealing our extension... the flip side" journal, Winter 2012
"... it is hot and I dive in. The surface is broken. Bubbles race from underneath me up to the air. Water splashes up and races down to return into the pool. For a moment, the droplets are reflective jewels in the sky. I sink and watch the surface from underneath become a silver film of ripples..." journal, Summer 2013-14
A series of manipulated chemical galaxies.
These works are only the beginning of an exploration of surface tension.
The surface; of a bubble or a droplet (or by extension, anything) is the line-less divide between densities of two compounds- be it gas, liquid or solid, within a matrix of space. With this approach, allusions to context-sensitive scale representations can be interchanged, i.e galaxies and bubbles. Tension of a droplet of water is only the skin of the material, vulnerable to everything and ready for anything. A transparent material's surface can determine light refraction, morph into any shape, diffuse, create and distort colours into rainbows.
The line that defines oil from water, air from glass, is the gap I am curious about. What if these divides are more like portals or mirrors up close (?)
"...The night is rainy and you are walking home, streetlights reflect into the puddles. Only for a moment, revealing our extension... the flip side" journal, Winter 2012
"... it is hot and I dive in. The surface is broken. Bubbles race from underneath me up to the air. Water splashes up and races down to return into the pool. For a moment, the droplets are reflective jewels in the sky. I sink and watch the surface from underneath become a silver film of ripples..." journal, Summer 2013-14
PLaster
Plaster is a fascinating liquid that freezes over time. Like resin, it is a chemical reaction which solidifies it. The idea of its juicy depth and molding possibilities lead me to impulsive turbulent 'paintings' which are solid in material and are able to stand alone - no canvas or hanging support needed. The painting is a recorded embodiment of its materials reacting to each other. When standing upright the block of plaster is monumental, like a slice of earthly Rhydolite.
These experiments have taught me so much about density, fluidity, control and composition which feeds my ceramic practice. The paints begin as bright colours but as they dissipate within the mixture they meld into new colours or, depending upon the material, retain hard edges and bloom in tributaries of veins. Unrepeatable, these pieces are the beginning of a new realm of making 'Whole' paintings.
Recently, considering the crystal shape of Gypsum (plaster), explorations into salt-crystal shapes have begun. This flows into considerations of materials and their charge, experiments into electrifying the paint (water based) are a new train of thought to explore. This is to alter the control I have over the interaction of the pigments. Experiments have shown that the electric charge of 6V repels the pigment from the surface entirely (for a fraction of a second), forcing the material to travel over the surface to a new location from drop point.
These experiments have taught me so much about density, fluidity, control and composition which feeds my ceramic practice. The paints begin as bright colours but as they dissipate within the mixture they meld into new colours or, depending upon the material, retain hard edges and bloom in tributaries of veins. Unrepeatable, these pieces are the beginning of a new realm of making 'Whole' paintings.
Recently, considering the crystal shape of Gypsum (plaster), explorations into salt-crystal shapes have begun. This flows into considerations of materials and their charge, experiments into electrifying the paint (water based) are a new train of thought to explore. This is to alter the control I have over the interaction of the pigments. Experiments have shown that the electric charge of 6V repels the pigment from the surface entirely (for a fraction of a second), forcing the material to travel over the surface to a new location from drop point.
Salt
Salt paintings have become an environmentally sensitive method of creating chemistry paintings. Far less permanent than Ceramic Paintings, Salt Paintings have been an exploration of colour, composition and questions of static/electric surface tension. Searching for the perfect balance of control and uncontrollable(s) through thickness, strength, crystal shape, temperature and formula; to make a self-painting composition which develops independently of myself. The mediums differ depending upon my theories and expected outcome of the experiment.
The image RIGHT is an extreme close up of a far larger experiment. This body of work is under research and being continued.
The image RIGHT is an extreme close up of a far larger experiment. This body of work is under research and being continued.
Plastic
Plastic Painting; is a synthetic space and liquid exploration, as layers and bubbles become depth and direction. AS yet, I am still searching to create a little pocket of the universe...
Owens Gift
2014
Acrylic, Mixed Media
40 x 28 x 5cm
Rachael McCallum
