Lyn Wait North Yorkshire, United Kingdom
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I specialised in ceramics and through further study became involved in working with other materials. I make works that have often involved drawing , clay, video, photography, recordings, journals, objects made and found . My practice reflects aspects of human relationships with nature and the land. Projects do involve other people and can be a performance, journey or event.

My early practice in ceramics involved making figurative ‘mantelpiece’ vases or small sculptures. These would be modelled and decorated with underglaze crayons while allowing a simplicity on the reverse side that was undulating, undecorated and impressionistic.

Diversifying into other materials I became interested in finding answers to help tell me who I am and the particular experience and circumstance of where I had lived and where I was living. Ideas about self-positioning prior to 2010 in Men on the Terrace, TURF, CASTLE, As I walked out and The Palindoromedome- (unfinished) all had a relationship with rural and domestic engagement. The significance of objects is important in many works while in several it is interaction with other people or the making of a journey that are of most significance. For the last twelve years I have continued to consider my relationship with the countryside around me and how best to interact, interpret and understand the narratives that evolve through this playful and experimental scrutiny.

In 2018 I became part of the AHH (Art Happens Here) Studio Collective in Malton, North Yorkshire where I have been able to work on a much bigger scale.

Also in 2018 as part of Selfscapes I exhibited at Dalby Forest with COAT and Neither Song nor Shriek nor Caw in response to the forest.

In 2019 two gallery based group shows with AHH included Objects on Four Shelves and Drawings 1 & 2 and Objects Round a Lamp and Sunrise, Sunset at the Crescent Arts Studios.

In 2020 I was commissioned by Forestry England and Ryedale Council to make a bespoke kayak. IKayak is an ongoing work currently documented and recorded as I take it to different sites. Here I can test concepts of scale and grandeur (ego) and of laying claim (as a would be explorer) or as a lonely paddler who frequently (nearly always!) needs other people to justify existence. IKayak remains in dialogue with a guide boat called Frigg owned by artist Louise Gilbert Scott. Frigg is a more communal creature. IKayak and Frigg often work collaboratively.