I play between digital and
traditonal media
Objets and artifacts emerge and assemblies form
a playfull mix of digital and material processes with a focus on tooling allows artifacts to emerge
tooling ideas come from my libraries of forms and symbols
artist statement
I am a visual artist working between digital and traditional mediums creating installations that presents the viewer with a playfully orgy of material and form. My constantly expanding universe is based arounds sets of symbols and ideas that get abstracted, stripped down and transformed through various processes of production. I am fascinated how we map and make sense and meaning in an increasingly secular world. Scientific and mythological perspectives to our place in the universe can fill me with a sense of awe and wonder which I let influence and inform my practice. I try to keep my relationship with the creative process light, playful and exploratory. Tooling forms an important role in my practice from digital fabrication to simple tools to push, scrape and shape clay. Tooling allows for forms and motifs to repeat over materials and scales and gives continuity within sets of objects. The continuity or relationships between the various artifacts point to hidden underlying structures that aim to spark curiosity, wonder and a sense of joy in the viewer.
Project statement
I am coming to ceramics from a digital perspective, having spent time working with 3D modeling and various digital fabrication processes. How can my digital background come into play in the world of ceramics? What properties and qualities does ceramics afford me that other materials do not? How do I navigate my way to find the skills, techniques and processes that enable me to have my voice in ceramics?
My approach is twofold. Part one is an exploration of digital fabrication to mold making processes. This is an almost direct translation of my digital forms into cast ceramics but I will be developing some of my own methods and work flows along the way with the possibilities opened up through the precise nature of digital fabrication.
The second approach is a lot more open and playful with a focus on tooling and experimentation. Tools are made to scrape, press, extrude and shape clay with familiar motifs and forms. What emerges through the play? How do experiments inform each other, join and combine and what new forms and ideas take shape through these processes? I will investigate how ceramic pieces sit next to wooden and resin pieces and what interesting relationships form there.
CV
Education
– MA Ceramic Art – HDK – 2020
– Independent study program – Ceramics – HDK 2019
– Gestalt Processing course – KKV – 2014
– MA C.Art media – Valand – 2009
– BA Hons Fine Art – Lincoln and Humberside University – 1999
Selected shows
– Sintra – 2021 – Göteborg – upcoming
– Grafik i Väst – September – 2020 – upcoming
– Next Century – touring printmaking exhibition –
Grafik i Väst – Ålgården i borås – Litografiska Akademin i Tidaholm – 2020
– Göteborgs Konstförening – 2019
– Nääs – 2019
– Galleri Majnabbe – Göteborg – 2018
– ElektroSlöjd – Jarnhallen – Göteborg – group show – fall 2016
– Eco glass symposium – Kuldiga – Latvia – group show – 2016
– Gallery ORO – Göteborg – 2012
Awards
– Culture scholarship – Göteborg city – 2019
– Project Pronto award – Göteborg City – Winter 2017
– ElektroSlöjd – 2016
– Project Pronto award – Göteborg City – Winter 2015
Works purchased by
– VG region
– Göteborg City
– Region Stockholm
Teaching
– CNC milling – private courses – KKV Göteborg
– Laser cutting and letterpress – KKV
– Laser cutting drivers licence – KKV
Writing
– https://omkonst.se/18-bramham-david.shtml
