Poppy Gribbon
Suspended ceramic installation
My artistic practice centres around the purposeful destruction of ceramic objects, emphasising the unpredictability of inherent fragility and challenging the invoked apprehension around ornamental surfaces. It intends to reveal the unexpected curiosity of fragmented forms beyond instinctual ceramic perfection. By proposing the fragments as physical evidence of an abrupt violent act, the pieces in this exhibition are celebrated as temporaneous histories that convey the taboo experience of breaking.
These works are explored in the transformative cycle of construction (the traditional production of domestic ceramics), destruction and abrupt breaking, and the conclusive materiality of reconstruction (reinventing the physical boundaries of experimental sculptural constructions). The repurposed physicality of these objects interprets a new visual image with complex forms of patterned detail that can reunite the non-linear memories of both past and present composition.
The described destruction presented as transformation has revolutionised my perspective of artistic individuality and so an exhibited sculptural identity that animates thematic fragmentation, dynamism, and the contextual history of repair. In this way, the work also becomes a framework with the adapted possibilities of Japanese kintsugi processes, the cultural legacy of crafted joinery, and the reflections of archaeological storytelling by the impossible passage of time.
These works are explored in the transformative cycle of construction (the traditional production of domestic ceramics), destruction and abrupt breaking, and the conclusive materiality of reconstruction (reinventing the physical boundaries of experimental sculptural constructions). The repurposed physicality of these objects interprets a new visual image with complex forms of patterned detail that can reunite the non-linear memories of both past and present composition.
The described destruction presented as transformation has revolutionised my perspective of artistic individuality and so an exhibited sculptural identity that animates thematic fragmentation, dynamism, and the contextual history of repair. In this way, the work also becomes a framework with the adapted possibilities of Japanese kintsugi processes, the cultural legacy of crafted joinery, and the reflections of archaeological storytelling by the impossible passage of time.