Sense and Perception

The works in Sense and Perception, 2002, explore the relationship of the volume and massiveness in a hollow object, and their internal movement and motion. Aylieff uses an abstract visual language in form to provoke and express an emotional response to the object. The sculptures, made of ceramic, have a refined and polished surface to encourage physical engagement with the work through touch. 

This exhibition was initiated by Manchester Art Gallery to launch its exhibition programme in the new purpose-built galleries designed by Michael Hopkins and Partners.  Sense and Perception reflected the clear attitude towards the blurring of boundaries between Art and Craft disciplines and was perceived by MAG as a pioneering exhibition in this area. It toured to a number of venues that offered different opportunities in the curation and display that enabled groupings of floor based work as opposed to the conventional use of the plinth. 

The exhibition was recognised as crossing the boundaries between ceramics and sculpture, particularly relevant at a time when the historical divisions between craft and art were and still are dissolving. This exhibition was an example where the audience perception of the material, clay, is challenged through the work, its scale, form and lack of traditional identity. 

The majority of the work was manufactured using press moulding techniques particular to large-scale work, processes for which Aylieff is recognised as a for-runner. The pieces use a variety of clays that resulted from personal research into aggregates, and ceramic colour additions into clay bodies to create specific visual qualities. 

Notes:The Artist was involved in two years of making and experimentation towards this exhibition, working in consultation with partners and curators from MMU and MAG.  Throughout the tour she was involved in lectures and workshops. At the Victoria Gallery, Bath, Sir Christopher Frayling gave an opening speech and the exhibition was featured in Ceramic Review No: 197, article by Liz Mitchell, ‘Significant Space’. It was reviewed in Crafts magazine No: 180 by David Whiting and AN for Artists magazine May 2003 by Iain Wilson, Telegraph magazine, 7 June, Food and Home. Public Collections who have acquired work from this touring show are: Crafts Council of Great Britain, Contemporary Arts Society, Birmingham Museum and Art Galleries x 2 , and Manchester Metropolitan University.