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Dan Elborne

'REMNANTS'

August 18 - September 16, 2017

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Remnants presents two new series’ of work, which find commonality in an investigation of commemorative practice.

I strive for every element of my work to address its overarching concept and story. This means that my choice of materials, chosen processes, aesthetic decisions and installation methods are carefully measured. My primary use of clay is particularly considerate of its connotations to preciousness, fragility and vulnerably as well as its association and relevance as a material often used for historical record.

These two bodies of work continue a variety of process and material based experiments, with an emphasis on the inherent and potential reading of secondary materials such as bone and ash.

 

Remains. Porcelain coated animal bone, glaze & gold lustre. Individual average: 21.5 X 10.5 X 8.5cm. 2017.

 

Since 2012, my major projects have involved the representation of memory often associated with events or experiences involving tragedy and/or trauma. Subsequently and originally conceived in 2014, Remains is an ongoing series, which acts as an outlet for larger scale, much more literal projects. While inviting individualized interpretation, the works personally offer an avenue for experimentation and better competency with important materials to my practice.

In a broad sense and especially with this latest set of Remains, I hope for the work to speak of the delicate nature of life, alongside concepts of resilience and legacy.

 

 

At Rest. Pinch/coil built recycled clay, anagama ash & copper. Individual average: 19.5 X 11.5 X 11.5cm. 2017.

 

At Rest was created during a six-week international artist residency at Shiro Oni Studio in Onishi, Japan.

 

Although related to research on visual arts’ role in memorialization and the representation of personal & collective memory: At Rest is an experimental body of work, intended to reference both time and place during the May–June residency program at Shiro Oni Studio.

At Rest presents a series of urns, which are historically embedded in the act of commemoration. Each vessel is characterized by unfamiliar making techniques and are an example of the environment in which they were made. This is via my use of local clay, new processes and a rare firing experience.

Each urn houses the remaining ash of an anagama wood firing used to permantise each vessel. The urns also contain broken pieces of my fellow resident artists’ work lost in the firing process.

Situated on the mountainside near Onishi, the anagama kiln and 5-day firing process is ancient and intensive. This series was created in anticipation of firing that particular kiln. The vessels are individually characterized by every stage of their production, and have been created as a kind of memorial to process, connection and learning.

 

Producing series’ such as Remains and At Rest is an important part of my practice. Ranging from realizations with material to reactions from viewers, it is work like this that informs and develops my larger projects. Both series’ are explorations, which ask: what makes an object identifiably ‘special.’