The Rules: Make art with only what would be available after the apocalypse
Apocalypse Pots as a mantra leaves only a very specific way of working. A practice without commercial assistance. It forces me to be inventive and use only what is around me to make work. No commercial clay, no electric kilns, no bisque fires, no glazes not even a fan!
This is the result, work that is deeply of its place. A distillation of the wild and the elements that dominate remote northern Australia.
I think more than anything else I am an environmental artist. I started out sculpting with bones and ‘dead things’ and my friends and family put it – my partner would often bring me ‘treasure’ after a day out with indigenous rangers flying in his helicopter. Skulls and bones and all manner of interesting things.
People loved my work but I think it was because I did the dirty gritty bit of washing off the peeling skin and rotting eyeballs etc. But people loved them when they were clean and white and sterile and finished but I loved the process, the transformation and showing people what they couldn’t see before, what they were once disgusted by.
I think this is still what I love about this current process of working with dirt – lets face it when I start with the material its just dirt. People out here spend hours and hours trying to get it out of their lives, out of their houses out of their clothes and off their children but I think it’s beautiful and again once I have gone through the process of cleaning it and dealing with the mud and grime and dead bugs other people think its beautiful too.
That’s the message I want people to come away with from my work, their eyes forced open to the beauty in the dead things, in the dirty things, the wild things and change how they see their world, even the dirt under their feet.