Cut no 10 | By Simon Kidd
Cut no 10 by Simon Kidd
from series 'Dregish'
slip cast porcelain, glazed interior
edition of 15
H. 17 x w. 15 x d. 14 cm
About the Artist
'My practice is deeply influenced by my childhood in Northern Ireland. Growing up at the end of a conflict and in a country where peace was relatively new, my memories are filled with images of the beautiful country I was surrounded by, bomb scares and overhead helicopters are merely a distant memory. I strive to create work which reflects my home, pieces which evoke a sense of what it means to be Northern Irish. Pieces which are symbolic of both the country as well as its complex past.'
Simon Kidd's practice is focused on creating functional ceramic objects which explore human experiences and specific locations. His series 'Sliabh Dónairt' (the tallest point in Northern Ireland) & 'Dregish' (a raised bog in County Tyrone) feature slip-cast and wheel-thrown ceramics that are made in response to these landscapes and the history that has created them.
Full range of 5 different objects, each being a limited edition of 20
Dregish is a raised bog in County Tyrone, one which has developed naturally over thousands of years. Bogs have been cut with sleáns, a tradition two sided irish spade, for hundreds of years in Ireland in fuel homes and cook meals. The bogs have also been used in much darker ways, bodies of Celtic Kings dating back to as far as 4,000 BC have been discovered in the bogs, preserved in the peat, they are believed to have been sacraficed to the Paegan goddesses of the land. In much more recent history the bogs were used as dumping grounds and burial grounds for bodies of people executed during The Troubles in Northern Ireland. These locations hold so much importance in the countries history, both the good and the bad.
These pieces explore this location and themes of historical processes, death, and memorials.
The models for these pieces are cut with a tool which replicates a sleán, the cutting of the plaster model right as it sets captures that process, the tears and marks the tool leaves in the plaster, much as how it leaves it in the turf as it’s cut. When turf is cut it is left across bogs to dry for weeks to months at a time, to an extent it is abandoned much like the bodies over time have been - these objects resemble the turf, but if placed alongside on the bogs they create objects of purity, ones which catch the eye, markers in the land.
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