Unsure whether to leave my tool marks . I have sponged the depression in each facet but still leaving some of my marks .

Use as test

Wilding often pushes together and juxtaposes unlikely relationships between materials including wood, rubber, paper and sand, focusing on her continued exploration of balance, weight and line.

Antiform

Ceramic Elements - resembling flint shards. Some tooled by neolithic man , some napped flint flakes found in West Dean walls.

Worked surfaces faceted and glazed in breaking celadon gloss glaze or oil spot glaze

Natural surfaces resembling the exterior of found flint nodules made smooth and glazes with matt white crawling glaze .

Soft Elements

Soft planting at West Dean.

Crochet domes or similar ( un resolved as yet ) in colors as seen in October

Strung together to drape around the base of the sculpture . Left free to reposition as the viewer pleases . - Antiform .

Reflects how the occupants of Westdean continually change the garden

Base

A slice of West Dean tree trunk ?

Materials link with place.

Routed to accept ceramic pieces

• Hand of man at West Dean- use of flint, Changing landscape/gardens.

• Flint as a defining material at West Dean.

• Contrasts-

• Soft and hard

• Flat /faceted and textured

• Gloss and mat

• Tooled and geologically natural

• Sharp and smooth

  
  

Large piece - Neolithic Tools

Smaller piece - Shards of flint found in West Dean Walls

References how the gardens change in time/trends/ occupants of the house / Head Gardner

Oil spot - visually effective but runs on a vertical surface and covers breaking edges .

Next firing to 1250c with no soak.

Matt white - not enough impact

Lichen glaze - successful

Next test pieces -

-Oil spot at a lower temp and on non breakng facets

-Celedon at a lower temperature

-Try lichen glaze at this lower temp , will it perform ?

After making decisions on color , texture and form I find the activity boring .

The results are only ok... a bit 'crafty '

Links to

• legacy of place

• hand of man

• material

• ceramics as a process ( linked to flint )

Not successful , too busy

May not continue with the soft forms

1.Chalky rabbit skin gesso - smooth

2.Plain plaster -gently texture

3.White emulsion- too bright

• too much color

• too much texture

• crafty

• my heart wasn't in it

However , still want to explore a flexible piece where the viewer can hold the small forms in their hands and rearrange as they chose .

This references.

• The hand held tools of the stone age inhabitants of West Dean

• How those living on West Dean estate change the landscape .

• How the flint , as a material , moves in the landscape . Exposed from the chalk through erosion, shifting around in streams and its use as a building material in the walls of West Dean .

Shows the landscape

Has a soft matt surface

Neutral colours

Does not conflict with the ceramics .

Interesting to create.

Also test wool felt and scrim

Although bright white , provides a pleasing contrast to the darker small pieces.

Experimenting with addition felt pieces to reference contours of the Downs .

Decided against this as it felt too busy and distracted from the main pieces

Place on plaster slab or white plinth .

Position at waist level

It covers the ideas that I wish to include , but also, and very importantly, it is aesthetically pleasing .

I have enjoyed the process and the challenge of problem solving .

I am proud of the final outcome and would like to pursue 3d forms further

Plaster was run out on crumpled foil and contained within cottle boards .This gave the effect of undulation in the landscape and strata in the chalk .

I found this to be a more complimentary base than the felt .

I have enjoyed the research , exploration of materials and problem solving .

For the first time have placed myself in the shoes of the viewer and considered the wider exhibition setting .

I would like to persue sculpture and incorporate different materials within the next piece