Lucinda Bennett talks to artist Daegan Wells about craft, storytelling and finding his clay. She mentions a review I wrote on ‘The Tomorrow People’ a large group show of emerging artists that was held at The Adam Art Gallery in 2017, which Wells featured in.
I am reminded of something Chloe Geoghegan wrote about Bleached Terraces in her review of The Tomorrow People; that “This kind of tributary practice is meaningful, but preliminary.” Daegan’s description of trying to take on Yvonne’s way of thinking and researching feels like a way of moving past this “preliminary” phase into new territory – something he seems to have achieved with his latest body of work, A Gathering Distrust, which included a series of ceramic vessels handmade using clay from the shore of Lake Manapouri. He tells me, “With the ceramic works I had at [Ilam’s] SoFA Gallery, Yvonne was there but not really. Only in the sense that I was interested in her research and the way in which she worked from the land with this really strong craft-based practice.”