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I refer to my latest clay works as inner morphologies or inner textures.

Clay is significant to my current process due to its plasticity and essential contact with the elemental matrix of nature. The practice is a contemplation on fluidity, the process of becoming, ambiguity and is a study of solipsism and emergence.

Drawing on developmental biologist Brian Goodwin’s research on morphogenesis in dynamic biological forms and David Bohm’s ‘emergence’ as differentiation of form through movement, when developing the mass of the clay form, I exert physical movement, often use wet clay, and enable clay forms to slump as an exploration of critical points of instability where new forms emerge.

The physical meditation in my work leads to ‘the zero zone’ where subject/object, potentiality/actuality become indistinguishable, analogous to what G. Agamben calls ‘singularity without real properties’, ‘the pure existence’ outside of psychological time.

At times the solidified memory of the movement in clay remains strong and latent until the form is submerged into the furnace of flames further twisting and turning until it can no longer bear - ruptures occur, encrusted by the glaze of the ashes.

Some works remain unfired exposed in their becoming, ‘dependently arising’, impermanent and fragile (pratītyasamutpāda).

Others are wood-fired in anagama kiln. This four-day physical process, is a contemplation on internal forces of nature self organising intense in the immemorial traditions of mankind.