Project Diary: Meeting Amanda for the First Time

Cups, Trauma, and Heraclitus: Recalling my very first visit to meet the ceramicist Amanda Doidge at her workshop in Walthamstow

Advertisements

I first emailed the ceramicist Amanda Doidge to see if she would be interested in collaborating on the Narrating Plasticity project on a beautiful summer’s day in 2016. I had been fascinated by her dark, destructive ceramics and her interest in arts and science collaboration.  I clicked send and went back out into my garden in Wolverhampton to listen to Girls Aloud in the sun, not expecting to be contacted for a week or two.

Just ten minutes later Amanda called, asking if I would like to visit her in her studio in Walthamstow to discuss the project. I was very excited.

Two weeks later and I was on the tube to Walthamstow Central. Amanda showed me straight to her studio where her art work was being displayed as part of the E17 Art Trail. 

Narrating Plasticity Amanda Doidge Benjamin Dalton
Amanda’s workshop was set up displaying her work from the E17 Art Trail, where artists from all over Walthamstow open their studios to the general public. This piece is her series entitled: Kill or Cure
Amanda Doidge Narrating Plasticity
Placards explaining the thinking behind Amanda’s ceramics series Kill or Cure and ‘The Angel Inside’
Amanda Doidge Narrating Plasticity
‘The Angel Inside’
Amanda Doidge Narrating Plasticity
Single cup from the series ‘The Angel Inside’

Amanda told me that she was interested in series because she wanted to bring her ceramics to life somehow. Series of cups told a story. Amanda told me she liked how a series could either be a multitude of different cups, or display the same cup at different moments in its transformation.

To put the ceramics in series introduces the element of time into the ceramics.

In Kill or Cure, the cup appears to deform over a period of time, falling back under the weight of its handle. Each cup had been fired with an increasing amount of lithium in it, with the higher doses causing higher levels of deformation.

Amanda and I discussed what it meant to take one cup out of the series and look at it in isolation: it doesn’t even look like a cup, you are seeing it out of context, you do not know what has happened to it to produce that form.

In this way, seeing a cup in isolation is like meeting someone for the first time, be that on the street, or in a clinical setting when a doctor is trying to determine the history of a patient, or the development of a problem: you do not know what has preceded that form, or where that form will go next.

Narrating Plasticity Amanda Doidge Benjamin Dalton
Amanda arranging and rearranging the ‘The Angel Inside’ series in her studio.
Narrating Plasticity Amanda Doidge
Some of the many, many moulds used to create Amanda’s series… like the cups themselves, these moulds had to deform over time, straying further and further away from the form of the “traditional” cup with every new casting.

 

Author: Benjamin Dalton

I am a PhD candidate in French at King's College London. I am interested in how contemporary French philosophy dialogues with the biological sciences. My thesis, 'The Coming of Plasticity: Narrating Transformation in Contemporary French Thought, Literature and Film', explores the work of the contemporary French philosopher Catherine Malabou on the concept of 'plasticity' in relation to literary and filmic narratives of bodily metamorphosis.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s