The sun burned his eyes as Shane peered through the sullen glass of his cabin. Everyone was floating about like busy little bees doing his father's bidding. Shane Porter spent most of his life trying to impress the father that never really wanted him. Crispin once even told Shane his childhood was the reason for his vasectomy. In his teen years, Shane realized the pleasure he got from making his father look bad and even today, at worlds end the younger Porter made every effort to push the leader of their community to his breaking point.
Shane, simply put, did not care. He did not have a desire to please his father and even less of a desire to play nice with that oaf, Lucas. It pissed Shane off to no end that Daddy let Lucas have free reign of the place - more precisely first choice of all the new beaver - and not his own child. Shane was proof that Crispin wasn't a liar even though the old man was lying through his bloody fucking teeth.
Nevertheless, he loved getting to fuck with people and actually enjoyed playing the part of the dutiful son. Shane was a great actor, even though Crispin hardly ever gave him credit. Honestly, he should be getting rewarded for simply not spilling the beans that Crispin Porter was nothing more than a power hungry sex fiend. That trait was certainly something passed down through the gene pool. When he saw Harper drifting across the quad area heading to the orchard his spirits lifted. Lucas made it very clear that she was HIS fuck toy and that meant hands off. For Shane that was just an open invitation to find out for himself what the fuss was all about.
Pulling on his boots he set out a round-about route toward the orchard making sure the two were truly alone before making any sort of move. Lucas was out hunting so he'd be gone a while, and if Shane were lucky, perhaps even devoured by the undead. Watching her check the crop he stepped out from behind her, "How are they looking. You ever farm before all this or are you just playing your part as well?"
Shane, if daddy lets you, you really need his permission, what would you do with Etta or any woman?
“Etta is soft. She believes Daddy’s bullshit and fell for it hook line and sinker. I’m sure dear ol’ dad has already given her a taste of reality. If given the chance, I’d show her that everything she ever wondered about men in a positive light is an absolute lie. And then I’d see how well she takes a punch to the face and as a bonus how well she screams. This can be said for any woman.”
How does it feel that your father values Lucas over you? (Shane)
“That question implies that I give a shit what the old man feels. Which I don’t. But if we’re talking hypotheticals here then I’d say it can only end badly for Lucas. He’ll either fuck up and dear old dad will kill him or I’ll experimentally take a knife to him and throat fuck him. Either way, I win.”
Father please forgive me for I know not what I do
I just never had the chance to ever meet You
Therefore I did not know that I would grow to be
My mother's evil seed and do these evil deeds
Crispin, would you actually be willing to kill your son? And if so, why have you let him live so long?
“I don’t actually want Shane dead. Yes he’s a pain in the ass and yes he’s the reason I got a vasectomy, but he is still my son.” Sighing he took a drink, “His mother was a whore, and the only decent thing she gave me was Shane. I wish I could change things about him get him to think before he acts but I don’t wish him dead, despite how much easier it would make my life.”
Shane Porter's profile on Ceramics Now Magazine - View his works
→ Read the interview with Shane Porter, Spotlight - May 2011
“My current practice explores the role and function of the vessel within ritual theory and practice. The Vessel contains and protects liquid which during the mass is transubstantiated from wine to the literal blood of Christ. I seek to convey feelings of silence, reflection and reverence by abstracting and subverting religious connotations and metaphors, referencing my uncertainty.” Shane Porter
Shane Porter graduated from the University of Ulster in 2010 with a 1st Class Honours degree in Fine and Applied Art.
Visit the artist’s website.
→ View our featured ceramic artists list (posts).
→ Subscribe to our monthly newsletter and like our Facebook page if you want to stay in touch with us.
In what techniques do you usually work and what materials do you use?
My practice is multi-disciplinary in nature, from the way I draw, plan installations and think about different concepts. These areas intertwine from the research that informs my work- by rough scribbled drawings on scraps of paper, to precise computer-aided illustrations. I usually need to see my pieces in three dimensions before going any further so after the initial drawing stage, I will construct rough maquettes (usually made from paper, card etc.) to get a sense of scale and presence.
The series Vessels 2010 were first made from turned plaster using a lathe and from that initial investigation I played with scale and proportions before turning to clay to make the finished objects. Vessels 2010 were made in two separate stages. A bowl-like press mould was made, and a large mass of white stoneware was pinched into it so to not create any seams. A top was then made from a slab of clay, and the rather rough pieces were joined and then slow-dried for four days. The pieces were then turned on the wheel to create the desired form and finish. I am interested in clinical forms, which flirt with the idea of mass production, but which disrupt this notion by subtle marks of the maker.
What is your present project, what's its history and how do you make the pieces?
“If anyone wishes to come after me, let him deny himself, take up his cross and follow me.”- Matthew 16:24
My work explores the role and function of the Vessel within ritual theory and practice. I am currently developing a new body of Vessels which are inspired by the practice of Corporal Mortification used in Orthodox Christian traditions. Corporal Mortification is the practice of inflicting pain on the body as a type of spiritual psychology which uses the ‘body to affect the mind’, punishing man for carnal desires and indulgences, therefore becoming closer to the divine.
This work is still in an early stage of development, and I am beginning to create a series of porcelain paper clay Vessels that challenge the function and ergonomics of the ritual container. I am interested in juxtaposing materials in unusual ways which enable the viewer to question the various connotations that are deep-rooted in society. I manipulate typography, clay, and organic materials to create narratives and conversations across the work.
How did it all start, do you remember your early works? What did you learn from that period?
My career as a ceramic artist began when I enrolled on my BA degree at the University of Ulster, Belfast. I was very fortunate to have fantastic tutors who had a wealth of knowledge and experience who were able to guide me in the right direction. I soon realized that craft was much more than utilitarian objects fit for purpose and began combining skill with concept; “thinking through making.” I have always had a deep interest in religion and spirituality, even though I do not have a belief in a God. I am interested in the theory behind religious practices and their use of ritual and objects and how these rituals can affect the lives of people.
You give great attention to the final work and details, but when you are working on your projects, on what part are you focusing the most?
The finish of my work is very important. Like the parts of a jigsaw, when the different pieces and layers come together they make the work complete. Our relationship with clay is one of ‘mutual respect’; it has its own limitations, but when you get to know the material you can exploit its properties to best suit your desired finish. I enjoy the final stage of making a piece of ceramics- the sanding, sponging and then experimenting with the other materials I am going to include with it. It is a very relaxing and rewarding process.
Where can we find you and your works in the next future?
I am currently in the process of approaching galleries throughout Northern Ireland where I hope to exhibit my new Vessels. As of yet, I have no idea where I will end up- hopefully, I will take my work overseas and reach a wider audience. I am also looking to relocate to a new studio in Belfast.
Give a piece of advice for the young ceramic artists.
Establish an internet presence. This could be from creating your own website (or ask nicely to someone who knows how!) creating a blog or something else which spreads your name and work around. Marketing your work in a professional manner is paramount.
It can be very difficult to make your complete living from being an artist. Be realistic and be prepared to work full-time/part-time somewhere in order to make some money. You can still make your work and spread your name around on a part time basis until you are fortunate enough to earn your full salary from your work.
Shane Porter graduated from the University of Ulster in 2010 with a 1st Class Honours degree in Fine and Applied Art. He is currently based in Belfast and continues to practice in his studio in Dunmurry as part of the Studio 23 collective. Shane will begin a MA Ceramics and Glass degree at the Royal College of Art, London in September 2011.
“My current practice explores the role and function of the vessel within ritual theory and practice. The Vessel contains and protects liquid which during the mass is transubstantiated from wine into the literal blood of Christ. I seek to convey feelings of silence, reflection and reverence by abstracting and subverting religious connotations and metaphors, referencing my uncertainty.” Shane Porter
By Vasi Hirdo.
Published in Ceramics Now Magazine Issue 1.
