Patricia Mato Mora
My current body of work interferes with ceramic industrial production, itself a colossal natural process that results in large quantities of material output. I appropriate a small percentage of said output and use it to constitute the material tissue of my own work.As a result, my sculptures are natural occurrences that appear to have escaped from the digestive system of industry and colonised our familiar environments. With regards to the creative process, I am interested in how the sheer scale of my interventions challenges the physical engagement that my body has with the material.
School of Humanities
MA Ceramics & Glass, 2016
+44 (0)7914 011482
I am an artist currently exploring the spatial and architectural capabilities of materiality; through sculpture, large-scale installations and site-specific interventions.
Spaces and the life within them provide me with a creative point of departure. Trained as an architect, and with a background in architectural journalism, I am interested in the capacity of spaces to act as vessels for storytelling and collective imagination – it is stories in spaces, not the spaces themselves, that shape human experience.
My works are carefully articulated material interventions that bring an element of surprise or wonder to an otherwise overlooked spatial condition. Necessarily architectural and monumental in scale, my work introduces a subjective narrative that has happened or is about to take place in the space in question, changing its perception altogether.
My current interests lie in manifesting, through my work, 'the flow of the universe', that what happens 'of itself'. I understand the division between man and nature to be illusory: nature is all there is. There is no art, nor architecture – instead, there are man-made works, in the same way that there are termite works. As such, my sculptures are natural occurrences, as necessary to my human condition as a nest is to a bird. Industrial processes themselves are also understood to be natural occurrences that result in large quantities of material production. I am interested in interfering with these processes in order to shape my very own work, which in turn appears to have escaped from the digestive system of industry and colonised our familiar environments.
With regards to the creative process, I am fascinated with how the sheer scale of these interventions challenges the physical engagement that my body has with the material. Upscaling material to engage with architectural space brings together the divide between maker, materiality, spatiality, and the creative act itself that exists in the practice of architecture.
- Royal Institute of British Architects - Part I, Architectural Association, 2012
- Co-founder and tutor, Drawing the City, Palma de Mallorca, 2014–present; Exhibitions digital designer & Architectural assistant, Magdalene Odundo OBE, Sunderland & Farnham, 2014–16
- The Emerging and The Established, Christie's South Kensington, London, UK, 2016; Garden of Delights, Lower Gulbenkian Gallery, London, UK, 2016; Two Hundred Acres, Pump House Gallery, London, UK, 2015; Big Clay: Raw, RC Turner Gallery, Alfred, NY, USA, 2014
- Distinction Dissertation, A Single Ecstasy (RCA MA Dissertation), 2016
- Unsung Devotion: Gallego Martínez’s Cathedral of a Lifetime (Photographs & Essay), The Architectural Review, 2013; Obra Construída da Lina Bo Bardi (Drawings & Visitor Map), Architectural Association, 2013; 'Linking the Architectural World’s Two Most Famous Townhouses' (Drawing), The Architectural Review, 2011