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Shetland Flora

Shetland Flora

Kaolin

Hornsgatan 50 

Stockholm

2022

Shetland Flora builds on work created for Kay’s exhibition In A Shetland Landscape at Shetland Museum & Archives in 2016, a ceramic and sound collaboration with Joseph Young.

During a residency in Shetland in summer 2015, Kay and Joseph explored the islands, documenting the sights and sounds of the Shetland landscape. Inspired by its bleak beauty, Kay drew her inspiration from the plentiful micro-flora blooming on the islands at that time of year. Every day, walking the landscape, she collected specimens she found growing underfoot, looking out for tiny plants containing interesting forms and patterns that could be translated into clay.

Kay used a digital microscope to capture the initial images, magnifying them to larger-than-life scale; to enter inside the structure of the plant and to see what the human eye cannot see. From these observations, she created prototypes in clay, and then created multiples by slip-casting porcelain coloured with a range of slips and glazes developed to reflect the colour palette of the plants.

Kay subsequently spent two years creating a new series of woodfired roundels of her Shetland flora designs, created in residence at Wood Firing Symposia in Kohila, Estonia and Guldagergaard, Denmark. She presented the work arranged in roundels and individually mounted on the clay slabs they were fired on in the wood kilns.

Shetland Museum & Archives

In August 2015, Kay Aplin and Joseph Young spent a month in residence at Scalloway Booth, exploring the islands and documenting the sights and sounds of the Shetland landscape. Inspired by its bleak beauty, the artists collaborated to represent the Shetland Islands in a unique way.

When viewing a traditional landscape painting the audience admires the work as an observer, but remains outside of it. Kay Aplin and Joseph Young’s intention was to invite their audience to be part of the landscape, through the creation of a space for quiet contemplation. Young’s field recordings were collaged into an immersive, four-channel soundscape, whilst Aplin’s ceramic panels drew their inspiration from the plentiful micro-flora, magnified to larger-than-life scale. Together they stimulated the imagination to evoke the complexity of the natural world and the traces of the people who live within it.

Shetland Museum & Archives

Oxidised porcelain and four channel sound

2016

Guildhall Rochester

Oxidised porcelain and four channel sound

2016

DAD

Dover

Oxidised porcelain

2016

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