Martin McWilliam

met Terra in China 2016 deelnemer aan expositie in Tree Art Museum – Beijing (oktober 2016)

Zijn werk definieert hij als “potten in essentie”. Ze lijken diepte en volume te bezitten, maar zijn bij nadere inspectie bijna plat. De geometrische manipulatie van vorm en de subtiele decoratie vallen samen met een textuur, die bereikt wordt door de houtstook in de Japanse Noborigama-oven. Sinds het voorjaar van 2009 ontwikkelde zich in zijn denken zijn kijk op de dimensies. In zijn meest recente werk is hij op zoek naar een multiverse pot, met dimensies die voor ons niet direct waarneembaar zijn, maar die bestaan in een parallelle wereld, verbonden met tegenstellingen als positief versus negatief en binnen versus buiten.

After McWilliam’s China artist-in-residence period in 2014:

My time in Sanbao was a very intense, concentrated time – nicely directed by Wenying. I liked the space its surrounding and the very good food. A little unnerving was that the theme I had been working on the previous half year and intended to pursue in Sanbao seemed to be looking at me everywhere. I had the uncanny feeling I had been there before. But when?

Douglas Adams wrote in one of his prefaces: Most civilazations go through 3 stages of development. The how – the why and then when. For example – first – how do we feed ourselves? Then – if you solve that – fully indulged – you will be confronted with – why do we eat (so much)? if you manage to clarify that then the only question you are left with is – when are we going to eat tonight?

So for me receivingthe invitation to asnbao was a bit like answered the third question – where am I going to make my next piece of art! The ceramic artist Grayson Perry gave an amazing talk for the BBC last year and he moved it on from how-why-where to a Who – why – where. The boundaries of contemporary art are not formed by what art can be, but where it’s made, by whom and why.

So Who Why Where and I add when as an important ‘who-why’ ‘who-where’ and ‘why-when’ sounds almost like Chinese.

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