The dead weight of individual lumps of clay is used as a means of construction to consider a relationship between parts and whole. The body is seen here as a transposition of matter from the earth below to above the ground, exposed in space.

] are loose assemblages of body parts, head, neck, shoulder, chest and limbs, made of raw material, slabs of wet clay cut, wedged, loosely rolled and casually stacked, almost thrown together, their slumped, heavy forms moulded by the soft touch of their constituent parts one on another. The low temperature firing of the clay effects the most minimal transformation of the base material; the works appear to retain a softness that extends also to their emotional register.’

, London: Royal Academy of Arts, 2019, p. 246

Clay Works

clay, 37.4 × 73.5 × 69.7 cm. Photograph by Stephen White, London.

Pile I

clay, 34.7 × 71.9 × 71.9 cm (14 elements). Photograph by Stephen White, London.

Pile II

clay, 36.6 × 72 × 81.5 cm (14 elements). Photograph by Stephen White, London.

Pile III

clay, 40.5 × 77.5 × 91.2 cm (14 elements). Photograph by Stephen White, London.

Clay Works

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