The time and place in which we all live is filled with endless commodified objects. It is with a sense of heaviness that I consider the quantity of things surrounding us. But I believe there is value in the handmade, crafted, and cared-for object; this value is not just merely commercial, but intrinsic. The act of making is a way of relating to all those who have made before – to see the new through the eyes and also the hand. The medium of clay can capture the imprint of other materials and hold the immediacy in which it was acted upon. As the primary tool throughout human history, the hand is essential. Hands capture an experience, a moment of action upon a material that leaves behind a unique trace of how one makes. I can only depict its importance by using my imprint selectively and by contrasting it with other materials and methods of construction. Through this contrasting, I have crafted new forms of imprint, such as in my recent artwork using rocks and handcrafted tools.
With the body of sculptures “Seeing Through Feeling,” I selected sculptures from the British Museum that have never been on display to the public. Using 3D scans that were accessible on the internet, I stretched and pulled the files until they were no longer recognizable from their original state. These were then recreated by hand, each with a specific clay-body and left unglazed.
I am interested in how art objects are repeatedly re-contextualized by individuals throughout time. It is often not the object that changes, but the ideas society applies to it. This creates multiple histories that intertwine when experiencing any art. I am concerned with creating connections between the artworks, the space, and the viewer; and how all of this is summed up in a complete experience.
— Chris M Rodgers