Conor Wilson

Perhaps the overriding concern is with exploring the relationship between nature and culture through the concepts of 'the wild', 'the domestic' and 'the pastoral'. I like art to be ambiguous, odd, difficult to understand, but I often feel that it is too easy to be 'weird'. I want something that expresses an individual's own particular take on the world, but which is also engaged and relevant to its time. This is what I have been struggling to do - to produce work that has something to say about the value of making by hand in a post-industrial society and how we understand that activity in a world that also includes industrial and pre-industrial societies. On another level, the work is pure display. I am a Bower Bird and this is my glittering nest. We lead a merry dance of cooperation and competition. My recent practice has focused on ceramics as a discipline, as opposed to just utilising clay as a material. One of the strengths of ceramics is its eclecticism. Many ceramic traditions seem to have borrowed from everywhere - 'high' and 'low' art, social commentary, nature and always what has been considered the best of the pottery production of trading partners. The history of ceramics illuminates complex trading links and the discipline almost functions as a metaphor for cross-cultural fertilisation. read full statement

Location Bristol, South West