Artist Statement

Chloe Monks works in a process-intensive manner, using practice as a means of self-discovery and exploration of material potential. Her practice is deeply rooted in research, particularly in glaze chemistry, pursuing glaze as a sculptural form and exploring her fascination with achievable surface finishes. Through continual technical experimentation, such as glaze labs, novel casting methods, bespoke frameworks, and varying kiln atmospheres, Monks' work embraces the opportunities of chance and its effects.

Inspired by writers such as Tim Ingold, Susanne Wedlich, Ian Bogost, and Michael Polanyi, Monks explores the act of thinking through objects. Her making becomes a physical investigation into the philosophical practice of phenomenology; forging connections between herself and the material. This has progressed into a consideration of object orientated ontology, questioning what it is like to be a thing.  Her practice examines interactions and perceptions of material within spaces of uncertainty. Monks is drawn towards natural phenomena that mirror liquid types, slimes, skins, cellular forms, and the formless nature of glaze.

In her studio practice, Monks approaches making in two distinct ways. One involves controlled glaze formulation, carefully revising variables and understanding glaze chemistry to predict its behaviour and outcomes. This research and development serve both her personal projects, educational provision, and commission-based consultancy. The second approach to making is characterised by uncertainty, freedom, and intuitive exploration. Monks employs hand building, slab building, press moulding, and slip casting, using glaze akin to clay. Her works often take on fragmentary or amorphous forms, reflecting the formlessness inherent in glaze as both a skin and a state of matter.