THE DESIGN PROCESS
Each piece starts by the combining or juxtaposing two or more visual symbols. This combination fires Lindsay Polson, admittedly mixed up, mind with totally new meanings.
Sometimes the result is aggressive and profane whilst on other occasions the result can be profound and gentle.
It never ceases to thrill him to watch this happen in a viewers mind, and even more rewarding, is the unique meanings they bring to a work, and he is then humbled and grateful in my role as “Provocateur”.
As a collection, the pieces are designed to be displayed as a group, offering the owner the maximum flexibility of display and the ability to combine their meanings into a unique personal narrative.
THE PRODUCTION PROCESS
Lindsay Polson loves working in porcelain, its roll up your sleeves and: squeeze it, pour it, punch it, pound it and finally, carve and shape it, stuff.
It’s a highly tactile process of child like play in “Clean Mud” and it has the wondrous ability to take a fleeting thought and freeze it, in a kiln, for posterity, in rock hard time.
During the sculpting process, porcelain becomes ridiculously fragile and the detail and intricacy of his work often ends with a day or mores work, disintegrating into a soul destroying pile of dust on the studio floor.
On those occasions, the neighbours learn the full extent of my rather dubious street vocabulary, his family know to grant me ample space and the dog knows to run for cover.
Once a piece is constructed, he packs it in foam rubber and nervously drive it several kilometres to the kiln, where he purposely under-fire his work, (much to the disgust of the Porcelain, Protocol, Police who watch on horrified at my temerity and flagrant lack of respect for their time honoured rules of craft) to give it a surface that can be hand finished to the texture and icy white colour of "MY" desire.
