A photograph is a trace of something that has or will disappear. For me, both ceramics and photography have the ability to capture a gesture, to express the fleeting and momentary. The fragility of the ceramic object is belied by its ability to survive intact, long after the maker has gone. It perhaps fulfills a primitive need to create a form which may endure ? a dispute with death itself. This act must surely be at the heart of all art, the desire to leave a trace, a memorial to our own existence. This body of work is centered around the desire to capture a life as a series of gestures or moments. A reflexive grasping at time itself.
The Gestures series conceptually relies on the incorporation of anonymously donated human bone ash. Each Gesture stands for a moment in a life, a repetitive act of making, which encapsulates in its entirety the sum total of that which an individual leaves behind. The last mortal traces of a single human being dissipated in a series of moments, monuments or mementos. An invisible component, the ash reflects the invisibility of death within our culture, and the anonymity of the individual themselves. Death is hidden from view, it exists, but we don?t see it. The acceptance that the bone ash is, in fact, incorporated, requires the viewer to take a leap of faith. To accept the existence of the ash although it remains unseen. The incorporation of human bone ash in this installation asks the viewer to engage with their own mortality. Our attitudes towards death reflect upon our personal feelings about the inherent meaning of life. An inevitable challenge that we will all be faced with, whether we personally choose to contemplate death in life or not.