Working across a range of mediums with a specific focus on clay Freckleton explores time through materiality. 

Each work is a coagulation in progress, a momentary gathering of moving pieces -  fragments engulfed by rippling pools, tiny grains flowing in turbid torrents, shards interlaced with miniscule droplets. 

“ Matter flows. All things are in a constant state of becoming and unbecoming. Materials move through and embody time and so through them we can reflect on how we inhabit time and place - on our place alongside all living (and non-living) things in the world .....My work starts with moments - moments when I have felt the flow of time acutely, when multiple times have been sensed all at once, where the deep past has existed alongside multiple future potentials, where I have felt empathy, perhaps even unity, with the spaces and things around me. ” 

Freckleton’s forms are composed from the rubble of things. Things she has found and foraged from these resonant moments. Both material and photographic samples are excavated, broken down and then recombined along with clay, glaze, glass, paper and other components. Aggregated together and allowed to flow, these gatherings of matter take on their own new forms. 
 
Smooth edges, corners, and flat planes frame many of the works - the ghosts of the moulds and formers that were the canvases in which these idiosyncratic collections of matter were brought together. These planar imprints index past contact with the structures that frame human space and seeing - bricks, walls, floors, columns, fences, screens, windows. Brought into collision with the lumpy flux of wild, disordered matter they become sculptures that teeter at the boundary between human-made and natural accident, between process and thing - an intertwining of the tangible and the visual, of object and material, caught in a state of becoming or of dissolving away.