Dimensions: object: 705 x 470 x 450 mm object: 747 x 440 x 440 mm
Copyright: © Andrew Lord | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Andrew Lord's "biting," date unknown. These two ceramic sculptures, with their textured surfaces and precarious balance on the table, feel almost… unstable. What stands out to you? Curator: I see process. Lord's manipulation of clay, its materiality, reveals a tension between control and chance. The 'biting' title suggests a critique of consumption, perhaps? The labor involved in creation versus the fleeting nature of desire. Editor: So you're focusing on the physicality and what that suggests about broader social issues? Curator: Precisely. How does the artist's hand, the very means of production, comment on our relationship with objects and their value? What is the significance of the pedestal? Editor: I hadn't considered the pedestal as part of the statement. I'll definitely think about that some more. Thanks! Curator: My pleasure. Considering the materials and making changes everything.
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Lord uses clay to create what he calls ‘process sculptures’. His earlier works employed fairly conventional ideas of making ceramic vessels through a use of modelling or pressing and squeezing, but this two-part work explores the relationship of the body to the act of making. He works to objectify gestures that might communicate the senses, as biting is a physical act that also communicates taste. He has explained how using his body as a tool ‘became a way of identifying and isolating senses and sensations and a way to assemble a catalogue of my physical self, a record of my physical memory.’ Gallery label, September 2016
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