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'Laid to rest with a white bone veil'

Experiencing grief, regret and longing for permanence, this body of work explores my own family connections, childhood memories and loss.
Limited to what seems like a handful of poignant interactions… the smell of home cooked chips, a low dense cloud of grey blue cigarette smoke in a still room, mantel piece trinkets, family photos adorning the walls, Boxing Day celebrations, and soft gentle kisses goodbye. Treasured memories of my childhood visits to Nanna’s.
Memorialized with a photograph or in a physical form, keepsakes of memories can be shared, while intangible memories are kept suspended in our subconscious, stored for safe keeping, unable to be displayed. Often diluted with age, positively reinforced, distorted through conflicting conversation or entirely fabricated, memories are a unique process connecting us with time, place, people, and emotions which cannot be shared so easily.
Can intangibility be transformed so it may exist in a physical present form? 
This body of work explores processes to transform memories into tangible objects, some distorted or fragile they will be displayed as mementos, objects of remembrance, or worship, by using casting methods, press moulding, dipping, and hand building to create collections of pieces of beauty and vestige curiosities using fine Bone China clay. During these processes I will consider if these memories are legible or shared with other family members, while questioning the phenomenon known as the ‘Mandela affect’ and the concept of ‘Heterotopia’, considering mirroring and the theory of worlds within worlds.
Known for its brilliant white aesthetic and durability, Bone China portrays elegance, beauty and extravagance. For this body of work, it highlights the preciousness and meaning of memorial flowers, family photographs, creating individually encapsulated flowers making permanent their beauty and fragility after they have perished.

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