#ROYasks Presenting Artists

Joshua Clark,  attitude effacee , 2018, ceramic and resin, $6000

Joshua Clark, attitude effacee, 2018, ceramic and resin, $6000

ROY: What kinds of interactions do you hope to foster between your work and the viewer?

JC: Like a pop song you cannot seem to get out of your head, I am interested in the things that capture our attention for surface reason, but which continue to haunt us for reasons we cannot quite put our finger on. In my practice the subject matter has always come from my daily experiences. A collection of associative experiences that I feel has the potential to communicate something telling about our collective human psychology, specifically as it relates to our desire for aesthetics experiences. There is a gap between how the world is presented to us, and how we then perceive it. A reality that can only be approached, but never fully grasped, and while no concrete meaning is possible, one can orbit close enough to the work of art to come away with something meaningful. This is how I wish my works to be engaged.


Joshua Clark

ROY: What medium(s) do your work with and why?

JC: Predominantly I use ceramics and resin in my work. The materials as well as the processes I use in my practice help to inform the reading of the work. In one process I use glaze material in equal proportions to ceramic material to fuse dense accumulations of metamorphic material in what I like to call synthesized geology. This is to make reference to measured time. This process can be seen in the base of the piece titled Attitude Effacee. Another process I have been developing uses clay to facilitate form, but not end product. In this process I sculpt an unfired clay form, and then I pour a fast setting resin over the form. Once the resin has hardened, I submerge the form in water. This dissolves the raw clay away leaving behind a hollow resin shell that hardened around the surface of the clay form that once was. Clay has long been the medium in which the initial gesture of a sculpture was captured, often to be translated into another material such a bronze. In this process I am highlighting the removal of the initial gesture rather than mimicking it in another material. This process is about loss, and desire to freeze a moment. I want the viewer to ruminate on the form that once was. This process can be seen in the pink resin form in the piece titled Attitude Effacee. Both processes freeze a moment, and in both cases something is removed. One process captures a surface, and the other captures an interior. One is dense and solid and the other is light and hollow.

ROY: Who/what are some of your biggest influences?

JC: A lot of the work for this exhibition comes from my interest in object-oriented ontology; the 21st-century Heidegger-influenced school of thought. In particular the writing of the groups founder Graham Harman.