Based on early computer designs pioneered by Alan Turing in the 1940's and 50's and themes from the film based on his life at Bletchley Park - 'The Imitation Game'.
Amanda's recent work has been inspired by objects in her personal collection and considers both their autobiographical legacy and wider issues of gender and conflict.
Photocopy, tape, clay, 2017
Photocopy, tape, wire, 2017
Photocopy, string, tape, 2017
Solo exhibition at The Edwardian Cloakroom, a Grade 1 Listed building in Bristol (12 - 13 November 2016).
Incorporating drawings, ceramic and unfired works in clay and printmaking, Amanda explored subjects as diverse as Ingmar Bergman's The Seventh Seal to Tinker Tailor Soldier Spy (BBC TV Series). A central focus was the re-imagining of childhood artefacts.
'Coda (...) emerged as a direct outcome from constructing the sculptures 'Exhume'.
I wanted to deal with the degree to which history and to a certain extend my own childhood artefacts dealt with themes of conflict.
I was interested in the notion that art can bring a commentary (or an epilogue / coda) to these subjects, helping us to re-focus and re-consider, as they inevitably become present again.'
Hand built, stoneware vessel, 2016
Steve (or Self Portrait)
Photocopy composite on unfired clay
Photocopy print on stoneware clay
Hand thrown unfired tea pots with iron oxide powder, 2016
Hibakusha is the Japanese term for 'Survivors of the bomb'.
Temporary, air-drying clay sculptures, 200cm x 300cm, 2016
'Wonderful' - Prof Mary Beard
Inspired by the destruction of the historic site in Palmyra, these ephemeral clay forms were created to examine themes of fragility, resilience and impermanence.
Although the forms started with an architectural aim, as they developed, they took on a more organic, human quality.
Amanda says: 'I wanted to explore how architectural heritage and human lives could both be mourned in the event of war - and how inevitably we are buildings and buildings are us.
As the forms became more human I felt as though I'd been involved in a kind of exhumation - the delicate and challenging construction process revealing a cycle of creativity and loss, futility and hope.'
The pieces range from 50cm - 200cm in height and are approx 1-2mm thick. They are free standing with no hardener or fixings used.
Images: Max McClure
The life and work of 20th century writer Sylvia Townsend Warner and her partner Valentine Ackland provided the inspiration for a series of works using photocopy printing techniques on clay, hand thrown pieces and video projections.
Leading a rich life of literary and political pursuits both women lived through an intense period in history which encompassed the Spanish Civil War and World War Two. They were both active members of the British Communist Party which incurred an investigation by MI5.
However, it is largely the domestic sphere of their lives which formed a specific focus for the work. Both women lived openly together in rural Dorset in the early 1930’s, sharing a deep rooted commitment to each other despite extreme challenge – notably the prospect of a three way relationship with a third woman and Valentine’s struggle with alcoholism which she endured for several decades in secret.
Despite the challenge, both women remained constant, enjoyed many happy years together, continued to write both poetry and prose and shared a deep affinity with the natural world.
Sylvia’s literary output was extensive and varied including poetry, novels, translations and a celebrated biography of the author T.H.White. Yet despite her extraordinary ability (she was also an esteemed musicologist) she is still relatively unknown.
Although Valentine struggled to find publication for her prolific output of poetry she became regularly published in the left wing press, writing on social issues of the time.
Both Sylvia and Valentine wrote about their lives together in detail and many sources such as Sylvia’s elegant diary and their letters have influenced the works.
The Sylvia Townsend Warner Archive at the Dorset County Museum, which includes Valentine’s papers too, was an invaluable resource, including the kind permission to reproduce the photographs of both women.