After receiving my bisque fired pieces from the kiln I had to decide whether or not I would be able to take on the ceramics alongside the paintings.
Hence over the course of the last few weeks I have been juggling the two projects, and the more my time was split between them, the more unnatural the two ideas felt side by side. I made the decision not to continue with the ceramics as I had previously explored this already, and I felt satisfied with the depth of exploration. Whereas I had spent my foundation deliberately avoiding painting in order to try new techniques and materials, but it has instead meant that this time spent away from painting has made my need to use paint even more immediate.
The process and approach I had been using with the pastel sketches in my sketchbook had also felt so natural to me. This was my indication to concentrate on my paintings.
There’s something in painting that to me will always speak to me, as if another language, I can read into it and understand and feel the emotions and meanings within. Therefore, as I had chosen to paint refugees in this Romantic manner, it seemed only appropriate to be abstract with paint than to be abstract in meaning with ceramics.
Artists like Ai Wei Wei also made me feel like I couldn’t use ceramics, when I had no traditional background in them, and regardless of my physical style, I felt either outcome would not fit with my Romantic idea.