Our last, but certainly not least Turning Point ceramicist is Sarah Statham, who’s work looks into the idea of nostalgia and the memories captured throughout childhood and the act of remembering them.
Sarah explains “the capturing of images through photography is a major theme running through my work, how we use images to construct and manipulate our narratives, what we choose to include and to leave out. This series of work is autobiographical; I draw directly from family photographs, sketching out the esoteric feelings between what has been captured and recorded and my experiences as a child away from the camera. On the one hand, the work focuses on childhood memories and family narratives, how time and personal choices can distort our recollections giving weight to something outwardly small and altogether losing things deemed, by others, to be of importance. It also draws on the traditions of storytelling, the moralistic tales told to children where adversity is an unavoidable part of life and must be faced and overcome. I use scale, colour and the image of the toy rabbit to evoke this and an incongruity in the images to examine both the joyful and the more uncomfortable memories of childhood that are born out of naivety and the loss of innocence and that only time and experience can rationalise.”
“My family history is strongly connected to ceramics; my paternal Grandmother worked in the potteries in Stoke-on-Trent and my decision to make tiles was partly as a nod to the industry and also for their connection to public and private spaces, they are a carrier for my images as in a traditional mural. My maternal Grandfather was a potter for many years in the Liguria region of Italy and this lead to my decision to use majolica glazes, historically used on all pottery produced in this area, the glazes capture the brushstrokes on application and give a painterly look to the pieces. The qualities of ceramics and the fluid surface of the tiles compliment the themes explored in my work, it is solid yet fragile, fixed and in motion. Whilst the subject matter in its literal sense is from a domestic context, the work can also inhabit the gallery space. Conjuring childhood memories was part of the motivation behind the pieces but my ambition for the work is to manipulate the viewer in the space between the revealed and the hidden, like the lens of a camera, we choose what is seen.”
For more information on Sarah’s practice, she can be found through:
Additional information can be found for the Turning Point Exhibition at: