成人头条

Mollykate Geddis鈥� site-responsive work stimulates and celebrates anxiety, using crocheted ceramic tiles to play with the viewer鈥檚 schema. Originally from New Hampshire, Mollykate is graduating with her MFA in Studio Art with a concentration in Ceramics from 成人头条 State University鈥檚 School of Art, Design and Creative Industries.

What materials and processes do you use to create your work?

For my ceramic tile work, I use a porcelain body. Those who are more familiar with ceramics would refer to what I work with as a 鈥渄irty porcelain鈥� 鈥� meaning it鈥檚 not made of the richest material, and it tarnishes into a taupe, not creamy white you would expect with traditional porcelain. The porcelain body is placed in a pressure release mold that allows me to produce tiles quickly. Using acrylic or velvet yarn granny squares, I will crochet the tiles together. The grog gives the dirty porcelain more structure and keeps the tiles flat, which really helps during the crocheting process.

What inspires your work?

My current work touches on my relationship with anxiety and the various coping mechanisms and regulation strategies I utilize. I鈥檝e found porcelain, really the nature of the ceramic process itself, to be a great metaphor for anxiety as they share many similarities such as unpredictability and inconsistencies of breaking points. My repetitious, rhythmic, and predictable mode of working in contrast with the materials mirrors the therapeutic strategies often used when managing anxiety.

Not everyone has the same anxieties, or any at all. For me, when I enter an unfamiliar space, I immediately start piecing together things that make sense. When I encounter something that doesn鈥檛 make sense, I try to fit it into organizational strategies, patterns, or categories. With this body of work, I鈥檓 attempting to portray that system in a physical landscape. I鈥檓 not trying to show people the calm, I鈥檓 trying to show them the thought process of getting to the calm.

The process of your work is therapeutic for you鈥攚as this always the case?

I think subconsciously I always knew that hands-on, repetitive mark-making was soothing my anxiety, which is why I鈥檝e always identified as an artmaker. In previous programs, I worked entirely with functional forms like radial patterns. The patterns involved a lot of math鈥攕omething that is always correct鈥攚hich gave a sense of predictable gratification. I鈥檝e since steered away from the functional aspect, but some of those ideas are still present.

How do you predict the unpredictability of your materials?

I created a system! I learned very early on that there was no feasible way for me to get the results I wanted every time, and my loss rate was massive. I was producing work that made logical sense, but there was nothing the viewer had to figure out鈥攖here was no system the viewer had to go through to make sense of the environment being presented to them. Instead of creating work that followed a system, I created a system for what I already created. I do my firings, crochet my squares, and make my tiles 鈥� whatever I get, I must use. Pieces that come out flawlessly, less-than perfect, broken and so forth are all categorized and utilized according to the rules of the system. This forces me to use pieces I鈥檓 not familiar with, so in the work there are pieces that struggle to fit into the established pattern or scheme. Those little moments allude to the grander narrative I鈥檓 presenting.

Mollykate will be exhibiting her terminal project, 鈥�Visual Pleasure,鈥� in the Clayton Staples Gallery from Friday, March 29th to Wednesday, April 3rd鈥攚ith a closing reception on Wednesday, April 3rd from 5-7 p.m. in the McKnight Art Center.

You can find more of Mollykate's work on her Instagram at @mkg.ceramics.

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