A Room of One’s Own, Accumulating Weight

I recently finished A Room of One’s Own for the first time. There’s so much more to say than this initial post but in the midst of several funding applications I am reminded of two of so many phrases that hurtled towards me.

“That collar that I have spoken of… bowed my head to the ground.“

A Room of One’s Own, Virginia Woolf (p.5, Vintage Classics)

This physical manifestation of worry or preoccupation is a concept I’ve ruminated on for some time. The Daily Journeys We Wear is an overarching concept for my present art practice. The notion being our lived experience can be manifested in wearable sculpture, portraits that enclose, cage, guard or amplify us.

I am developing a new series:

Worn: A Battleground.
Exploring what we carry with us.
Accumulated weight. An armour of sorts.

Worn Weft Weary. A trio.

Vestiges of an emotional battleground, artefacts.

I like the sense of a trio emerging here. They’ll be several stances forming a group I think. The W words are textural and a ripe starting place as specific words often are for me.

“A nugget of pure truth to wrap between the pages of your notebook and keep on the mantelpiece forever.”

A Room of One’s Own, Virginia Woolf (p.4, Vintage Classics)

I loved this phrase from the moment I read it. That preciousness and the idea of a gift of words. A weightiness too though that can be burden like the previous collar. It is writing I want to write and the pressure I feel to find such writing when deadlines loom.

Strata I Sketchbook

Documenting this sketchbook helped hone why they’re such a key part of how I develop work. Continually reframing the composition of pages and elements I revisited the textures, surfaces and shapes I was interested in when putting the pages together. I tend to work with several projects in mind with so much not realised in sculptural form. Sketchbooks continue alongside making and documenting and bringing them online has added another dimension to the research and revisiting process.

Sketchbook highlights

Strata I Sketchbook slideshow

  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)

Continuing to revisit The China Hall

“The China Hall is one of those buildings that on first stepping inside elicits gasps of wonder – with its high barrel-vaulted ceilings, immense space and visible remnants of its former industrious past.”

From British Ceramics Biennial website (delivered by The Clay Foundation)

I agree with the British Ceramics Biennial site description there’s certainly something about the sheer scale of this space. That work continues to be commissioned especially for it is especially wonderful.

Read more about my art practice

Work in progress: Totem

A good studio session throwing porcelain for a new tall (taller than kiln) sculpture to be stacked over a cane for support.

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Revisiting The China Hall, Old Spode Works

As part of the rebuilding plans for this site I wanted to make much better use of the reams of photos that document my past exhibitions. These were taken when I delivered my work to the British Ceramics Biennial in September 2013. The space was incredible, absolutely cavernous with so much of the last industry, an all encompassing culture, in evidence.

Read more about my art practice

Buying my work online

The occasion of The Hepworth Wakefield Contemporary Ceramics Fair moving online has led me to make work available to buy online. I have set out key considerations you might have if you’re interested in owning any of the pieces on this page.

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Buying my work online

The occasion of The Hepworth Wakefield Contemporary Ceramics Fair moving online has led me to make work available to buy online. It is good to prompted to get around to things but it also feels odd. I am used to people handling my work as part of a conversation about what I make and why. That is hard to recreate and I didn’t feel I had a catalogue of products suitable for upgrading to an e-commerce site, yet.

That said, I would love people who’ve discovered my work for the first time through this year’s fair or those I’ve met before to be able to buy from me. I have set out key considerations you might have if you’re interested in owning any of the pieces on this page:

  • The majority of my work is not suitable for posting. You can collect from my studio in Sheffield at a convenient time for you or we can discuss me delivering to you in person.
  • If you would like to buy a piece please email info@annakime.com I will be available for the duration of the fair. I will confirm your purchase by replying as soon as possible and supplying my bank details for payment.
  • I am very happy to talk about my work, over email or on the phone, to discuss existing pieces or new commissions.
  • I have supplied dimensions of each piece available and photos that give a good sense of the piece. Don’t hesitate to ask if you have any further questions.

FUTURE NOW: Aesthetica Symposium 2020

On my way home from the first day of Aesthetica’s FUTURE NOW Symposium. The programme has been so stimulating. The combination of panel discussions, keynotes and one to one sessions makes for a really engaging experience. I was lucky to have two extremely-useful portfolio reviews. They were with Lottie Davies and Pierre Saurisse. Both were generous, enthusing and thoughtful and have given me ideas and directions to pursue I’d not previously seen.