Ingrid Murphy and Jon Pigott – Reflections on materials, process and space

An opportunity to collaborate for the first time – bringing together our respective and common interests in materiality, sound, objects and systems.

An observation on behalf of Murphy . . . Pigott would often tap and listen to the resonance of objects when holding them, further noting that this is also a way of checking the integrity and quality of fired ceramic pieces, led to the idea that ceramic form could be presented for its sonic as well as its formal qualities. The materiality and haptic quality of ceramic juxtaposed with the mechanical formality of electronics and devices offers an interesting aesthetic challenge

The professional environment of Pigott and Murphy is almost entirely responsible for the development of this work. On a daily basis the pair navigate territories of objects and relations within the context of an art school, weaving a treacherous path through artworks, raw materials, paperwork, furniture, tools, financial predictions, human beings, fixtures, fittings and Danish pastries to name just a few of the sensorial objects that have informed the trajectory of our collaboration.

The material is never inert – always alive and bristling with its own intentions. We seek to expose particular traits of the materials, which are keen to show some aspects of their secret world . . . Our part will be over relatively early in the life of the work, the material will get the last word through the resonant chime of the ceramic pieces.

There is fission between us and the materials/objects, as we explore the possibilities, the trials for finding the perfect pitch, between, object, sound and form. Ideas reverberate around the office as we clink, handle, listen and look.

Pigott: Cramped use of laptop on crowded train, crossed legs limiting blood flow to foot, trying not to knock fellow passenger with right elbow. Murphy: As I lean too far across the plaster table, to pour a bucket of plaster, the sheer physical effort of making large moulds surprises me.

The corner of a newly occupied office space becomes an ad-hoc studio environment, the smell of newly fitted carpet nestles up against ceramic forms and emergent creative plans. An empty art school, lighting my way as I walk through the spaces carrying moulds, it gives a great sense of gravitas to mundane and tedious process.

There is the moment when ideas take on a clear focus, at that point material for me changes from a thing of untold potential, a friend, an ally in creativity, to a thing which must be subverted, cajoled and controlled into what it now needs to be… and that’s a battle.

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