Institution Triangle by Jon Hurley

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Medium: Sculpture - Other
Dimensions (H/W/D): 65 by 74 by 5 cm.
Year made: 2005
Framed: As per artist instructions
Image Details: [1]  [2]  [3]  

Fired ceramic and fabric with a wooden frame.

This piece fits into the concerns of the Institution series which are laid out in the paragraphs below this one, but it also is very individual in its own right as it is triangular. The triangular format sets up a lot of connotations which are not necessarily part of the original concerns of the Institution series but are not unwelcome additions. For instance the shape and look of the clay bits is rather other-worldly. This is interesting because it has links to the core of our existence, questioning who we are and where we come from.

This piece is concerned with the evolution of identity, expressed through the stamping of marks on the pieces of clay. The clay was malleable before it was fired, like us when we were young, and that was when it was stamped. Now the clay is hard and no longer malleable, similar to the way grown up people are less impressionable. The past softness of the clay is echoed by the current softness of the surrounding fabric. All colour is in the fabric, and the natural colour of the clay serves only to increase the quality of coldness and hardness juxtaposed by the softness of the fabric.

Each piece of fired clay is a microcosm of the finished piece mounted within its frame. The viewer is encouraged to view the piece as a whole but the detail of each piece of clay draws one unmistakably to the fact that each clay bit is individual. When humans are viewed en mass, we are unavoidably objectified, especially when viewed as numbers in statics. This objectification is worrying as it can make people in positions of power, or us when we watch the news, forget that in all these numbers are actually individual humans.

Artist Information
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Jon Hurley

The work is in ceramic with fabric. The juxtaposition of the cold, hard, uncoloured ceramic and the warm, soft, colourful fabric set up the major aesthetic and philosophical concerns of the pieces.

Aesthetically, the juxtaposition emphasises the physical characteristics of the materials. The viewer can enjoy the simple beauty of buff ceramic fired to 1200C and its texture which is highlighted by the introduction of manganese dioxide into its crevices. The strong colours in the fabric...

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