This body of work was made during an Artist’s Residency at The Leonora Carrington Museum, San Luis Potosi, Mexico. The work was exhibited at the Museum from 2019 - 2020.
Inspired by Carrington’s interest in the alchemical transformation of matter as a parallel to the transformation of the self through an accessing of the unconscious (Jung, 1936). Along with the flora, geology and the folklore of Mexico, it draws upon the materiality of clay and glaze to explore states of flux and flow and transformation.
It plays with the plasticity of clay to explore structures and edges. Slippery structures which entangle the micro and the macro, from the bodily and the botanical, to the geological and the biological; structures which exist across all scales of our reality and which are rooted within our collective unconscious. Edges which tip and teeter between the familiar and the alien, the conscious and the unconscious, where the human individual dissolves into the organic universality of form.
1 Carl Jung, The Concept of the Collective Unconscious: A Lecture Delivered Before the Analytical Psychology Club of New York City, October 2, 1936