Tracks in the Flats / Sporen in het Wad (2002)
Carrie de Swaan
What is shown are the last 2 parts (7 of 20 minutes).
In the Dollard, the estuary of the river Eems and part of the Waddenzee, the inner sea of the Netherlands, the seabed consists of soft silt. During the summer of 2000 I spent two months exploring this extensive deposit of mud. Immersing my whole body to shape the material, I made vast sculptures in the six hours that the flats were exposed. When the tide turned they were swallowed by the rising water. The expanse of the flats, the light, the sky and the birds form an essential part of the work and the film. The film is made by Carrie de Swaan.
With support of ThuisKopie Fonds en the Amsterdam Foundation for the Arts.
Dust to Dust (2011)
Marlou van den Berge
What is shown are the last 10 of 34 minutes.
Clay is the material from which everything arises and into which everything returns.
With 7 tons of earthy clay straight from the Kleine Gelderse Waard, the last river wash-land in the Netherlands that wasn't flooded at that time, I realized a sculpture/installation/film project in the space of Punt WG in Amsterdam, the Netherlands, in collaboration with filmmaker Marlou van den Berge. The film closely follows the process of the wetting and kneading of the clay to make it workable and the development of the work in the space. The tendency of the sloppy material to fall apart and the fabric needed to keep it together, became the leading elements in the process.
Helena Goldwater: "The film follows the actions and repetitions with the clay that are simple in their execution, but there is a complexity in the potentiality of meaning. The corporeal and visceral come through and lead towards an intimate work but also devastating in terms of life and death; horror on personal and wider scales."
Reclaim (2011)
Glen Dunn
Sketch 1
In the courtyard of the old Jam Factory in which the Tasmanian School of the Arts in Hobart is housed, I worked during a week in a field of yellow clay, straight from the quarry and feet wedged by the students of the sculpture department. A film has been made by Glen Dunn. In his filming he focused on my embodiment of working the clay as a performance, the improvised choreography, and the clay being a viscous partner to me within the performed space. The project was an initiative of Creative Arts - Tasmanian Polytechnic, supported by the School of Art - University of Tasmania and sponsored by the Pathways Project.
Marl Hole (2009)
Johnny Magee
What is shown is part 1 (find part 2 and 3 on You tube).
A raw clay project organized by Neil Brownsword as part of the first British Ceramic Biennial in
Stoke-on-Trent, England. During 5 days Neil Brownsword, Torbjørn Kvasbø, Pekka Paikkari and I explored
the material of clay in its rawest state, at the location where it is dug out of the ground:
Europe's biggest clay-quarry (marl hole), Ibstock Brick's Gorsty Quarry in Knutton, Stoke on Trent.
Ibstock's workmen and their diggers made it possible to cope with the huge scale of the quarry.
The film by Johnny Magee follows the work processes of all four artists.
