K A T H E R I N E G L E N D A Y
“I aspire to a quality of stillness in my work and as the years have passed the vessels tend to be increasingly simple. As I work in visual conversation with things in the natural world and with feelings, I am trying to imbue the works with a sense of lightness, stillness and poise.”
Katherine Glenday’s vessels defy stereotypical classification. They embody form and function, sacred and profane. They are symbols and metaphors while maintaining their implicit function as containers of air, of liquid, of sound and of silence. The clay that forms the translucent and transparent skin between the material and the immaterial. The primordial clay and the human potential to form, transform and communicate.
Katherine’s fine technical skill and ability to subtly manipulate and collaborate with her medium constantly leads her to explore the metaphysical implications of each individual form and the series it belongs to.
Find Ruth King's full-length process video via this Youtube link: https://www.youtube.com/watch?v=j5X4oNmShnI
The translucency which is possible when working with porcelain has become a life long passion though recently I have begun to explore other avenues of ‘painting with light’. Translucency or luminosity are endlessly courted qualities. I have also been spending more time painting and drawing, exploring the relationships between surface and form, mark making, gesture, movement and new materials.
Somehow osmotic ‘conversations’ are birthed by the simple act of bringing objects into the studio. Clay shards, rocks, shells, feathers and stones, plastic, glass and old metal objects engender many thoughts, associations and ideas. Being a painter at heart, the subtleties of colour, texture and light are important for every work and my examination of how different materials transmit these is an ongoing endeavor.
I see the vessel form as a canvas in the round. Living by the sea makes me aware that in the same way in which water transmits light and lends itself to many transformations, porcelain can be at once a container for fluid expression and also a holder of light.
The vessels that leave my studio are thoroughfares through which conversations travel, going beyond my hands, and the earthy materials they are composed from. Much of my time working with my hands is spent trying to make ideas and thoughts visible. Discipline and technical mastery involve dedication and a practice through the physical body which is as important a vehicle as the heart and the mind in the creative life.
Inhabiting the poetic and imaginal realm, and working to make this visible requires sustained ‘active dreaming’ and I have a strong belief in the transformational power of the creative act.
C U R R E N T W O R K