Focusing on the architectural integer of the corner and the ability and specificity of the material properties of clay to capture a reflection or memory of a lived environment, the following works, including I am most coloured when placed against a white background and ‘Clay as Camera’ series, are a representation of a manifestation of the physical patterns of space when projected into the supporting environment.
Perceptions of identity and belonging are a recurring theme of my work, questioning the fragility of narrative structures and the interplay between memory, fiction and desire.
Depth of Field, 2014, unfired clay
I am most coloured when placed against a white background, 2017, glazed ceramic
Family Photo, 2014, unfired clay
Basil Olton is an artist, curator and researcher with studies in ceramics, fine art practice, arts management and public policy. His practice is influenced by the relationship between materiality and film theory, experimenting between the differing modes of application and specificity to explore the effect of colonialism on institutional memory, commemoration and identity and the wider relationship with private and public space, power and display, through exploration of personal and collective histories.