Carolyn Genders in conversation with artist James Hunting

Carolyn Genders

Carolyn Genders | Sentience
2nd - 25th May 2019

This is the second of our posts to accompany the exhibition program in our onsite Emmanuel Cooper Gallery. In creating works for this exhibition, CPA Fellow Carolyn Genders questions and investigates asymmetry, rhythm and balance, while celebrating the tactile and textural possibilities of clay.

In conversation with artist James Hunting, Carolyn shares her intensely private journey of creating the works for 'Sentience'.

Carolyn Genders | Red Interior, Orange Spots 
James Hunting (JH) : What is the surface to you?

Carolyn Genders (CG) : Surface is integral, it is a base, a starting point. Without surface, nothing could follow, it would be empty. I invest time corrupting, disrupting and preparing the surface on which I will work.

Vessels: the three-dimension surface is the space they occupy within the bigger space: the way the lines cut across surface, move around the form, lead the visual perception. Surface reveals the internal life of a 3-dimensional object.

JH: What is the place of drawing in your practice?

CG: Drawing is my practice. It is my thought process. Through it I express weight, line, volume and rhythm. I do not draw the figure or the object. I use marks, areas of colour and gestures that when I come up for air, have created the figure or captured the essence of the subject. Working in 3-D, drawing in clay, drawing is the dimension. It’s the continuation of this working from concrete objects and the figure that is the information for working in the abstract.

Carolyn Genders | Indigo Bo
JH: Colour - what informs your colour use?

CG: I realise more and more that colour is fundamental to my well being: artistically and in life. Colour is looking - that empty space where I just look - the act of informing by analysing. The conscious and unconscious selection of colour combinations.

Looking at my environment - constantly experimenting - the informing of colour combinations from external stimuli: my environment and the work of painters such as Giotto, Rothko, and any artist who uses colour thoughtfully and with rigour.

JH: You have been printmaking - what impact- if any- has this had on your ceramic pieces?

CG: My printmaking is an immediate and responsive expression. It is also a continuation of looking at colour and exploration of markmaking. It provides shortcuts to the time consuming processes involved with clay. Ceramics fill my soul but is difficult.

Printmaking is joy, I love it - It is my guilty pleasure!

JH:  The most recent work has a calm, less ‘busy’ feel - as the maker do you sense this?

CG: Yes, strongly. After an intensive period of making, I have been surprised by this body of work. It has taken a lot of thought to understand it myself! I recognise that it’s intensely private and the beginning of a creative journey of no compromise.

Carolyn Genders | Snapdragon Sunshine I,II,III

JH: Where next?

CG: I want to explore……..

JH: What role does thinking and talking hold in your work?

CG: It’s impossible to create valid work without thinking and it has to be done alone. Thinking needs space and promotes rigour and openness. Talking is equally important but not promiscuously.

Carolyn Genders 2019

Contemporary Ceramics Centre
2nd - 25th May 2019


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