Lucy Laura Scott
I have explored a lot of different mediums over my 3 years at university; Including, painting, collage, film, sound and ceramics. They have each provided different stimulation according to the restrictions and tools available at the time. My second year was spent understanding relationships between film and sound and interactions between place and time looking at site-specific artists.
My current practice predominantly uses every day ceramic forms such as mugs, bowls, lamps and vases to question the categorisations of art, design and function, confusing our perception on the values of different art forms. Movement and interpersonal relationships with space and objects mean my ceramics are often multifaceted creating movement within the viewing of an object. I see my work as sculptures with a function where the objects user decides their primary function. Studying on a painting course has allowed me to explore and play with ceramics in an unstructured and self-directing way.
The process of making often begins by playing with the clay and letting the material guide me according to the reaction with my hands and feelings of that day. Due to the nature of clay, I have found that using ceramics forces me to slow down as the clay cannot be rushed in any aspect of the process, including drying times, firing and glazing. Within the glazing process I often use different types of ash creating a muted tone and interesting effect to the pre-bought glazes.
The material aspects are carefully constructed meanwhile the imagery is purely instinctive and internal often taken from dreams and the natural environment, letting both my subconscious and consciousness have their own roles to play in the process. I have been keeping a dream diary for over a year now which heavily informs my practice. Collecting and bringing in imagery from my dream experiences into my ceramics, puts intangible imagery into our physical waking reality. Certain imagery such as dolphins, horses, whales, teeth, nudity, crocodiles and empty buildings reoccur within my dreams, tapping into Carl Jung’s idea of the collective unconscious.
Sound is also an integral part of my practice. The use of sound within the exhibition installation adds another sensory layer to the movement and observation of the works, meaning that online documenting proves difficult due to the interactions with the space. Sound is always heard, and often art galleries aim to reduce the sound within the environment, however the inclusion of sound provides a nonvisual layer for an enhanced understanding of the environment. The soundscape in the installation stems from the process of making, including sounds of clay cracking, the birds outside and the movement of water, often with imagery and sounds interacting.
Plinths act as a stand to display sculptures and they are also an opportunity to change the perception of the objects they are holding. Plinths are commonly white box cubes however I have painted drawers onto them to act as props within the setting, playing with the staginess of the white cube and the traditional values of the white plinth.
The separate elements of the installation work together, creating a setting in which each section has its own role to play to distort the preconceived atmosphere of an art environment.
Contact Lucy Laura Scott
- Phone
- 07707602223
- scotty3115@gmail.com
- @alottyscotty