Corridor Crit / External Examiner

Last Thursday, after a slightly panicky start to the day when I discovered yet more of my test glazes had turned out unsuccessful, things began to feel better towards the afternoon  as I realised I need to focus on making the best of what I already have. I realised I haven’t been asking myself concrete questions about what I want the sculptures to look like and as a result hadn’t committed to a choice of decoration.

Over the lunch time I took part in a corridor crit which was positive and constructive. Displaying my work on three plinths of different heights which I’d found around the school, I realised the plinths would not need to be as high as I’d predicted for the work to be at eye level because much of it is fairly tall. Themes which seemed to dominate the composition were growth, architecture, distortion, movement, a dialogue between function and non-function, order/disorder and collapse. I found it interesting how the others commented on the uniting feature of the horizontal throwing lines on all the pieces and how this made an interesting contrast with the vertical clay particle orientation in the legs. They also pointed out a harmony between colours, which was positive since I was worried the vessels were too disparate. In regard to curating the show in a wider sense it was suggested my work may be interesting beside Andrea’s functional thrown tableware, the continuity of the vessel and process of throwing raising  questions surrounding the role and value of craft and skill in our contemporary society of mass production.

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Set up of work in progress for corridor crit

We realised too that it may be more practical to place my sculptures on clusters of plinths rather than individual ones to avoid the danger of knocking them over. It might be interesting to look into exhibition safety guidelines to figure out the distance required between each individual plinth if I choose a set up like the one in the exhibition plan. 

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Bisque vessels ready to be glazed

Talking through my work with our external examiner Bonnie Kemske was also hugely valuable to me because I was forced to explain my ideas to someone who knew nothing of my work. Initially I thought I wanted to create a range of bright, matte glazes for the vessels but realised this was because I was following a pre-determined idea of what I expect the forms to look like. Perhaps the proliferation of ‘insta-porn’ pots has something to do with this – bright, beautiful, photogenic objects that look modern and fresh. It’s not that I don’t want to create modern, fresh, beautiful and photogenic vessels, but that the concept and the experience of viewing them in reality is more important to me than whether they look good online.

I realised when explaining the objects to her that what I needed to do was go with my original idea of using my pre-existing ash, shino, tenmoku and red oxblood reduction glazes which will place them very much in the context of Leach and British country pottery, but with the unexpected twist that the forms are sculptural. I hope this use of the familiar and domestic in a sculptural high art white plinth context will create an uncanny experience. In regard to the forms of the objects, again I solidified my conviction that the ones with defined rims and bases work better since they behave as a start and finishing point for our line of vision, an empty space on which the eye can rest. I have started to lay down rules for myself when making now so I apply these design considerations.

Below: Vessels in progress

 

 

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