As usual my sculptures emerge intuitively in a frame of mind I call 'conscious suspension'. I watch Youtubes and listen to podcasts related to my creative, theoretical 'thinking' and this keeps my CONSCIOUS, chatterbox mind elsewhere while I'm making. This process allows for my UNCONSCIOUS (also imagined as a collective 'field' of consciousness) to penetrate the work. It's only later after some reflection (and this can't be forced as it comes from 'left-of-field') that I start to recognise or understand the ideas, feelings and memories embedded in the work. Often these are unformed and felt as a psychological stirring, I don't immediately understand the symbolic language, recognising that perhaps more time needs to pass during which these stirrings get tossed around.When I was making 'Bearable Whiteout' I was unaware of WHAT I was making and surprised in the finish. It was confronting at first, but to me there is a happiness, the baby is perhaps comforted by being penetrated by a polar bear!I recall the experience of bringing a puppy home for the first time, the sensations of an uninhibited little being crawling all over me, and the feeling of not being able to 'get enough' of it. A sensation of wanting to envelop or merge with it. These are viscerally felt memories that affect me emotionally at a psychological level, which would be impossible to explicate within the limits of spoken or written language. I'm interested in how consciousness not limited by such mental constructs as language can be embedded in works of art during the act of making, especially if the art-maker has an emotional investment.I'm yet to understand why she has a crown of three pig's ears!?
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