Heat Exchange presents a moment of significant change in my practice as I start to address a different working environment and routine, and I am fascinated to hear how others of you have navigated the upheaval of changing studios.

In recent years I have commandeered a big kitchen table for drawing, and chaotically processed work on the attic floor and back yard. My choice of materials and processes has always followed concept and I defined myself as a fine artist distracted by a teaching job. Eventually I resolved my work-life balance by going back to college to study an MA. During this intense period I explored many new processes including enamel and most importantly identified myself as a ‘maker’: an applied artist using drawing with objects. So I realised a context for my work but now need a different studio fit for purpose.

Today I am once again constrained by my day job, trying to juggle teaching with exhibitions and grant applications. I have learnt that risk-taking is necessary for inspiration: this exhibition acts as a trigger for change, a transference activity to instigate a new approach to work and lifestyle.

This holiday I finally found time to instigate my project by working at college in lieu of a personal studio

Here are some photos of work in progress: I have taken old mining artefacts as forms for sand casting – piece moulds are made using sand hardened with carbon-dioxide. To complete the sand-surface in preparation for molten iron it is ignited with a solution of graphite powder in alcohol. I like the fact that several heat exchanges occur throughout my project during mould making, melting of iron, and enamel application, and through transference the replicated objects are rendered dysfunctional to become vehicles for reverie…

with best wishes for the New Year, Cath