Turns out curating the apocalypse is way more fun than it should be..
Ceramics, collage and creatures exploding, exploring and expiring in the Milking Parlour….this intriguing show brings together the work of David Burns and Mary Tambini for the first time; in a conversation that begins in the cradle of civilisation and ends in planetary implosion at our own hands. Open until 26 November, Tuesday-Saturday, 11-3, it’s a must see.
Having been already familiar with David’s work, from the moment I visited Mary’s studio in Childe Okeford I knew I had to get her in a room with him. There is something fragile here and yet deeply grounded in a collective cultural consciousness.
I felt that here was a conversation to be had – and here it is.
Mary researched this latest work on a visit to Kurdistan, where images 1000s of years old were the inspiration for the distilled motifs threaded throughout the work. It is a beautiful body of collage and ceramic sculpture with a collective feeling of cultural substance.
David has this to say about his recent work:
“The 11-year ticking clock in which to fix climate change and global warming has led me to respond with the present pots. The way humanity has squandered the resources of the planet we live on for what? Gain is only a relative term, some of the least affected by technology would seem to have a more carefree, healthy lifestyle than the likes of those making a financial killing by killing themselves.
I see the bowls as various versions of the cosmic black hole relentlessly sucking in everything in its path, all the trappings of success and achievement in the modern view going at light speed down the toilet to who knows where. It could be argued by the kinder folk amongst us that our present predicament is due to everyone not firstly understanding our planet home and secondly thinking that because things in the old days changed grindingly slowly it would always be so. Some would say”it’s not about misunderstanding and ignorance” but a pure, couldn’t care less attitude. Human beings are far too smart for their own good.
Surprising then that precious few have seen the writing on the wall. Possibly a condition of having a knowledge base that starts at zero and ends at zero point one.
Over time I have collected various different textured surfaces that are used in combinations on the bowls. They are made into press mouls and combined with thrown surfaces to produce the outside of the bowls complementing the interior pattern. I then use combinations of keys, coins, other metal objects and broken porcelain dolls to create the final images. My direction and ethos to highlight the effects of global warming, climate change, degeneration and decay are thus integrated into the work. I use many unconventional methods and materials to create the surfaces I require by adding brick dust, fibre and ground glass into my clay bodies firing them in different temperatures and atmospheres.”