Clay in vivo brings together eight artists who work with clay to explore ideas that have, at their heart, its materiality, raw energy and plasticity - as well as its ability to hold memory and tell stories.
All the works in the show celebrate unfired clay, which gives rise to the possibility of change and transition over the course of the exhibition. This process of transition is further manifested in how the artists approach clay, using its unique qualities to embody a liminal state.
Barbara Beyer draws on clays archaic roots, Mary Branson fuses it with sound to create immersive installations. Sandy Layton and Beatrice Galletley each examine dualities, flux and polarity through
contrasting forms and surfaces. Desa Philippi constructs fictional architectures from clay fragments, while Lisa Snook captures unconscious emotions in tactile expressions. Livia Spinolo uses clay as a medium for environmental awareness, whilst Stathis Dimitriadis curates all these diverse voices into an immersive story
told through the language of clay.
Clay in vivo goes beyond the usual exhibition to offer visitors a hands-on creative experience with clay through workshops.

Clay in vivo catalogue:

I am using the ASC Croydon Cube Gallery where my studio is as a playground of clay, objects, materials and words. In thinker thinger threader, every window display is a chapter in a story of experimentation between an idea and a thing, a lost thread in the world fabric.

Chapter I: The Find

They say true places never exist in maps They hide under rubble and noisy rivers They linger on the tip of leaves waiting for the morning sun Theyr boiled down to your bone marrow You find them when you go shopping to cure your ageusia You try to avoid them like reefs emerging from undersea volcanoes You bag them carefully with naphthalene and hang them deep in closets ...

Chapter II: The Dream

...eyes closed ears clogged bottles corked Air tight hopes and everyday tokens that you fiddle with inside your pockets to draw strength from miniscule firecrackers which start your engine when frosty news make the world unlivable Of course you are allowed to think you can change the world Day dreaming on board your bottle ship harpooning dragons steering stars soothing sirens ... 

Chapter III: The Make

...Your sea is a pond in a puddle reflecting a beauty books omit An aftertaste of vacuum that feels better with clay Since things are thots that thread our stories Noisy clouds you can't keep a lid on Beautiful stuff with no meaning Great inventions of nothingness Gospels in absurdism Aphorisms of chaos Lumpy amalgams of divine mechanisms ...

Chapter IV: The Road

... they knew once how to navigate the apocalypse Sure n steady yet useless now A Theseus without Ariadne looking for way out a roundabout that signs have forgotten When everywhere is a stone and no direction is home Only a looping trail through fields of dreamless summernights Where scorpions search for shade under shuddered eggshells offering their tail for a handshake

OBJECTIONS 

INCON with [21]...

INCON with Neil Ferguson in “OBJECTIONS” a participatory event building narratives of protest through objects.

GREEK VASE PAINTING

Greek Vase Painting' is a collaborative work with Stephen Emmerson @tothemadpoets.

The story started several years ago when Stephen bought a second hand book, the 'Greek Vase Painting' by Ernst Buschor published 1921.
In between the pages were items that the previous owner(s) had placed there: Bookmarks, newspaper clippings, sketches, advertisements and photographs of Greek vases cut from other publications.
These items were photographed by Stephen and turned into ceramic transfers.
I have made four vessels based on the ancient Greek designs.
The transfers were torn and pulled into fragments and fixed onto the vessels.
The book was burned and its ashes placed inside each of the containers.

This collaborative work was on display @porticolibraryas as part of Stephen's exhibition 'How To Read A Book' at The Portico Library in Manchester, Dec25 - Mar26

ASTATHIA

ASTATHIA is a state of mind where the painstakingly carefully built structure of oneself begins to crack, to succumb to uncertainty.

By chance or choice every encounter, event or experience brings

tension to an already precarious balance.

 Astathia in Greek  is  the negation of constancy, which  also  happens to be my name’s origin; hence an opportunity to question my identity.

In 2017 I have created a temporary installation at the gallery space of the Westminster Library.

ARGUMENTUM TERRAE & MORIMENT

Earth Arguments created a liminal space of doubt and uncertainty likening to the ambiguous character of death. It combined the versatile and transitional properties of clay with actions of twisting, breaking, displacing and distorting. Moriment was a three

dimentional death registry made of unfired clay and nespaper cuts. Clay skulls were handbuild on the basis of daily reports of fatalities and placed together with the news adds in a vertical timeline.

Both were installed in the Sir John Cass School of Art during

the MA show.

MA Research Project

2 years investigation in the relationships between material qualities, transformative actions and making elements.