Elliot Mountain
Ceramicist / Photographer / Sculptor


 
Elliot Mountain, a final-year student specializing in Sculpture & Environmental Art at the Glasgow School of Art, delves into the alchemy of nature's transformations and artistic expression. His focus lies in the interplay between the chemical shifts in nature and the creative process. Employing wild clay extracted from forgotten mines, his pottery becomes a canvas infused with the essence of landscapes, intertwining historical narratives with aesthetic designs.

Inspired by remnants of mining and industrial artifacts, Mountain's pottery strikes a balance between utilitarian robustness and the rugged beauty of a bygone era. Each piece transcends mere functionality, carrying narratives that echo the allure and legacy of the land, telling stories in their very form and texture.

Furthermore, by utilizing a Victorian view camera in large-format photography, Elliot Mountain draws parallels between analogue photographic processes and ceramics. Both mediums demand meticulous techniques, a fusion of materials, and a profound connection with the medium itself. Each ceramic creation evolves through careful crafting and glazing, mirroring the process of each photograph—a creation shaped by light, chemistry, and the artist's vision.

This convergence celebrates the intertwining of narratives, traditions, and craftsmanship, establishing a seamless artistic dialogue between ceramics and photography. Mountain's art thrives on thought-provoking, absurd concepts, reflected in his performance work—a visual amalgamation of his photographic and sculptural processes. He maintains a steadfast commitment to employing the chemicals and found objects from the very sites where his work originates.

Mountain's artistic practice revolves around visualizing the essence of a site, exploring how we can detach ourselves from the bustling contemporary world by revisiting the past and engaging in age-old processes. His work encourages an experiential journey, inviting viewers to contemplate and experience a deeper connection with history, nature, and artistic expression.

A recent fabric sculpture I crafted played with visual perceptions and negative spcae, employing two large sheets arranged in a geometric pattern. From one angle, it presented as a solid mass, while from another, the fabric appeared almost translucent, challenging notions of space. Using clay collected from a disused Yorkshire iron mine, I coated the fabric, allowing the slurry to seep through and create intricate trails. These clay patterns, snaking along the fabric's surface, added depth and intrigue, altering the sculpture's texture and inviting viewers to explore the interplay between the malleability of fabric and the earthiness of clay in redefining spatial dimensions.
"VICE" was a performance piece staged in St Enoch's Square where bread-shaped pigeons were fed to live pigeons, representing societal conditioning and consumption habits. Inspired by artists like Roman Signer and Marcus Coates, the performance highlighted the cyclic nature of negative consumption patterns and the influence of societal norms. It sparked ethical debates concerning live animals in art and the artist's role in interventions. This multidimensional artwork delved into shared healing experiences, the impact of social media, and the transition from negative consumption to a balanced diet. Through symbolism, VICE prompted reflection on societal implications, ethical concerns in art, and the shaping of human behavior by what individuals consume.
Elliotmountain1@gmail.com  /  07443611535  /  Magikmountain