The word carousel originated from carosella, meaning “little battle”, used by crusaders to describe a combat preparation exercise in the 12th century. This early device was essentially a cavalry training mechanism; preparing and strengthening the soldiers for war. Revealing the sinister truth, this collection highlights the carousels true identity, showing the audience that it is far from the innocent fairground ride that they are familiar with.
Using various methods, the making process is highlighted throughout the work; from the casting seams of the mould, to the fluidity of the glaze. As a collection this work boasts its true meaning and by manipulating materials and processes, it resembles the machine that it once was. The use of colour recognises the childlike quality to the work, resembling the innocence, associated with the carousel, that is so easily lost through time. The pieces themselves are modelled on babies bottles, literally showing how as a society we feed and expose our children to this brutality.
Drawings played an important role in the development of this work, showing the viewer how the same thing can be seen from a different perspective. The use of imagery highlights how children are exposed from a young age to war and conflict, playing with toy soldiers and weapons, when the reality of what they are modelled on is anything but a game.