I have changed the title of this post, three times. I started bravely with 'Goodbye Minimalism', but then changed to 'Flirting with Maximalism' , then just to 'Minimalism?', but with a question mark. In my mid-term review in December 2020 I raised the issue of minimalism and my current project. When I arrived in Preston for the start of my MA, many of the ceramic artists I liked, worked in a minimalist style, and/or with a limited colour palette. Dave Binns said I was an 'architectural minimalist'. Exposure to a wide range of ceramic artists has broadened my views in terms of work that I like, and given me a much better appreciation and understanding of many different types of work.
In the early part of the course, I have been interested in architecture and the machine-made environment, themes conducive to a minimalist aesthetic. However it is difficult to separate buildings from the people who used them and lived amongst them. My interest in Manchester is related to the fact that I am the third generation of my family to live here, as well as my own memories and experiences of walking through the city over many years. It is not just my own family and personal history that is tied to the city, but that of many other people. In my research I have looked at historical records, including trade directories and residential information. This data is very rich and engaging, whilst I am focusing primarily on architectural forms for this module, I would like to recognise that these buildings form part of the personal and collective history of the people who used the area.
Two other factors have influenced me. Firstly, I am reading The Ceramic Reader, and it gives a good overview of different movements and trends in the wider art community that have impacted ceramic artists. Reading the articles made me think objectively, and question some of the ideas about design that I have subconsciously absorbed from the world around me. All around are images that directly and indirectly influenced my ideas of good design, so I am going to try to be more open minded. At this stage of my MA, I am still finding my own way, and do not want to start out with a predefined label and set of ideas. I concluded in my assignment that I need to adapt my work to my research interests, I need to remember this going forward.
The second factor is that I decided to explore the work of 'maximalist' artists, and attended a number of zoom talks during the lockdown including Kate Malone, Susannah Montague and Lisa Orr. Lisa Orr talked about how it was important for her to make work that looks hand-made rather than 'perfect' as if it was made by a machine. She took pleasure from the freedom this allowed, and the fact that every piece she makes is layered and different. She has her own distinctive working methods and colour palette, but she does not attempt to reproduce exact replicas of earlier work. Each piece is vibrant, expressive and full of colour. I am not sure why I am restricting my use of colour or techniques, I have older work at home that is more diverse and colourful. Her arguments were persuasive and I am going to consider this going forward, especially if I decide to focus more on social history rather than architectural history.
I am happy to let go of minimalism, at least in theory, but am not sure whether it is as easy as that. If I move away from the architecture of the area, towards the residents and businesses, at some point in the future, I think I will need a richer more complex approach to making and decorating, so want to prepare for that possibility.
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