19 December 2021 – 16 January 2022
text by Ailis Cross-Gorman
Matthew Porter guides his art into being, assisting it so it can navigate the line between order and chaos, organic and artificial, human and nature. It fluidly demonstrates that these dichotomies are part of the same whole and that the line between them is invisible. His most recent exhibition, ‘Firing Line’ embodies something distinctly human yet retains a significant element of the abstract. It refers to the line work evident in his prints and sculptures, the process of sculpting itself and the content of the work, which depicts human forms in transitional states of being, becoming other. The work is playful in the sense that it demonstrates his ability to produce refined conventional forms as well as freeform sculptures. In the gallery space, it holds its own, evoking sense of timelessness by drawing on historical firing methods and printing styles, reflecting an understanding of contemporary practices, and exploring an intrigue in an ambiguous, dystopian future.
The shape and design of the ceramic vases alludes to various influences in the long-standing history of pottery making. The more traditional vases feature fluid line work etched into the surface of the glaze. These lines correlate with the lines in the monoprints on the surrounding walls and depict human-esque forms in motion, dancing and melting into each other. The figures in both are reminiscent of cave paintings, and the vases themselves echo a time when their distinct shape would have been a result of their functionality as well as their aesthetic.
In conversation, the artist talks about a time in Ireland’s history between the Bronze Age and the Eighth Century BC when there was a complete lapse in pottery and pot making in general. Historians speculate that this was due to the use of cooking methods where ceramics were unnecessary combined with a heavy reliance on bronze in Ireland. Since then, however the practice of making ceramic vessels has firmly embedded itself in our island’s cultural history and the artist jokes that it must be ingrained in him somewhere, as a vase seems to be the most natural shape for his hands to make. “I’m a big fan of allowing the art to make itself or being a vessel for the art” (or in this case being a vessel for the vessel). It is evident in the organic appearance of these pieces that they have found a life of their own through the artist rather than through a process of force or prescription. Texture also plays a major role in Matthew’s work and adds to the forms’ organic appearance. The contrast between the textured and smooth surfaces brings movement to the scratchy figures as they appear to bustle with life. The variation of patterns and texture throughout the work is invitingly tactile. The human representation here seems intentionally undefined, almost as though to highlight the flawed nature of humanity or the fluid nature of identity. The vessels are defined – they have purpose – whereas the characters depicted here are cryptic, defying resolution.
Then There are the Raku fired vases, a Japanese method of firing that produces a beautiful myriad of colours on the surface of the glaze. “Like oil on the surface of water” as the artist describes it. These pieces play with the idea of excess and relief, one of them is excessively colourful, demonstrating the full effects of the beauty of this technique. The others are burnished (smoothed with metal) and have been fired in the same way or ‘smoke fired’ with raku accents, leaving small geometric sections of colour. Matthew says he is particularly looking forward to displaying the raku firings as it’s a technique not many people are familiar with.
The amorphous sculptures by the window are particularly ambiguous, bisque fired and presumably rough to the touch, they are fossil-like in appearance and a vibrant, earthy orange. Again, vaguely human shapes can be picked out from within the amalgamation of textures and forms as the viewer is left questioning what sort of technique was used to create these unique patterns. Perhaps the artist drew inspiration from ancient Irish Potters as he speaks about, “even the functional wares of Stone Age potters being decorated all over by impressing objects into the wet clay such as shells, bird bones and rope.” Although not a literal fossil, Matthew has fossilised an element of our ancestral past in this piece through honouring their techniques, blurring all the lines; particularly the line between traditional and non-traditional disciplines, thus sculpting his own path in the discipline.
ABOUT THE ARTIST
I have a background in Fine Art which I studied in the Northwest Institute. I continue to draw and paint regularly but I wanted to study something more hands on. In 2012 I enrolled in a one year ceramics course in Cork city. I really found a love of ceramics there so I applied for a four year diploma course in contemporary applied arts after that, specialising in ceramics and glass. During this course I won a scholarship to Shanghai University to study cast glass. I still practice glass making for some projects but my real passion is for ceramics. I moved back to Donegal where I’m based now. I support my practice by delivering ceramic workshops and courses as well as working on commissioned public artworks.
