Ian Meares

Dazzle-Flauge: Scrim N' Cut

(2019) - 17x7x6.5 Ceramic
 

What if I told you that I am not so sure of what to make of things; that I am reminded, “this too shall pass,” only this feeling doesn’t quite seem to... And what if I told you this is what propels me to make artwork? I pose questions and work out explorative models through objects, actions, words, and ideas, often intuitively and without the luxury of rationalization’s authority. I work to create elliptical frameworks guided by the knowledge that if we can recognize something, we can overlook it too. This is where analysis comes into play. 

 

The work traverses experimental forms and sculptural ceramic objects as starting points for larger compositions. These larger compositions hybridize ready-mades, vernacular and fine art materials. The work’s home is conceptually rooted in the dynamics of politics, economics and aesthetics with which we find ourselves and one another. Physically it is grounded in the phenomena of clays and glaze, the ceramics process, and historical context. I aim to explore linkages between what we can recognize and what is difficult to apprehend while considering the recursive links found in forms, materials, critical texts, and everyday experience, creating work to elliptically index and challenge our sensibilities of self and world.

 

When successful the work gains flexibility with an allegorical usage of materials and concepts. Fired ceramic objects relate to an implied sense of security through durability, while at the same time raw clay reminds us that we, like our embodied perceptions, are in flux. Appropriated objects point to our contextualization in this world of artifacts with meanings and histories that are beyond ours, while spatial relations reveal our proximity — a sense of urgency and desire. The work positions ceramic practices as a site to consider larger philosophical questions of human potential beyond the immediate practicalities constraining public policy, applied science, and the precariousness of our health and economic wellbeing. This is a query of how we might be more cognizant of, ourselves and things, and can belong to a place and time while simultaneously (re)conceiving the world as we move through it, one step at a time, glimpsing, experiencing, and adjusting; exploring and figuring out through doing.

 

Recently, I have sought to consider questions of our mediating relationships with technology and how value is assigned to experience in an increasingly ephemeral world. Inherently, it’s a question of what it means to make, as a means to understand today. Can the work construct models; for coming together, rather than contributing to the further atomization of technological acceleration? Can work that is both sensuous and concept-based offer a space for audiences to conceive of new realms of possibilities to address the social, economic, and political realities of concern for our times?