Coed Coexist exhibition at Plas Glyn-y-Weddw

Selecting wood for the Coed Coexist Project, my eye was drawn to a branch ripped from the tree during its fall. I was fascinated by what I saw as graphic evidence of the catastrophe. About a third of the limb’s length, this wound attests to the impact of the storm and violence of the tree’s demise.

The branch was torn, revealing its ragged layers, and hollowed interstices. Placed on its neatly sawn end, the tear gestures upwards at an angle suggestive of launch, a departure rather than an end point. I have used the rough contours of the ruptured wood to impress marks into Parian porcelain clay, while the curve of a detached piece of bark provides a mould dictating the parabolic shape of the fired porcelain. It is a conversation between wood and clay, between event and record – the porcelain forms returning to the wood to take flight.

Initiated by Plas Glyn-y-Weddw in partnership with Pen Llŷn artists Junko Mori & John Egan the project reflects on the vital role of trees and woodlands and our connections to and responsibilities for these ecosystems. 

I have used the Yakisugi process for charring the wood . This is an ancient Japanese method of preserving wood. When the surface of the wood is burnt, it chars leaving a layer of soot. This is brushed off completely with a wire brush to reveal the scorched wood beneath.

When linseed oil is applied, the wood takes on a deep black lustre, enhancing its g rain and whorls.