The Sacrifice for Art and Craft

I’ve just come across a text in ‘The Ceramics Reader’ called ‘Reconsidering “The Pissoir Problem”‘ by Bruce Metcalf. In it he describes conceptual art using the definition of artist-philosopher Adrian Piper who suggests we think of conceptual art ‘as being art that subordinates its medium, whatever its medium, to intellectually interesting ideas’.

Metcalf proposes that the difference between being an artist or a craftsperson depends on what you sacrifice. For an artist, the medium is subordinated by the idea. Art is intellectual, or according to Arthur Danto ‘art is embodied meaning’. Craft on the other hand puts the material first, the idea comes second since craft practice is more about labour. These days, Metcalf says, ‘everybody wants to be an artist‘. It’s something I feel resonates with me as someone who came to ceramics from a fine art background. Recently my work has become so much more about the idea than the joy of working with clay. I don’t want to forget what drew me to working in ceramics in the first place through. The ability wet clay had to reshape itself and ‘remake/re-model’ like the Bryan Ferry song (‘Next time, is the best time we all know’) drew me to it, perhaps as a metaphor for a way of continually reshaping and changing my own self. The stubbornness of clay I felt had a lot in common with my own stubborn attitude.

I began to define myself while at HDK as an artist who happens to work in clay. I realised from feedback in tutorials that a lot of the things I made could equally have been made in metal, wood or plastic. Superimposing shallow metaphors about clay suggesting the fragility of human civilisation onto these objects afterwards felt superficial and false. I realise I am starting to sacrifice my material for the idea. But the results from the anagama firing and the fantastic material qualities of the alchemy and metamorphosis of glaze and clay during the process has made me remember that this magic is the thing which really excites me, these objects mean more to me than anything else I made while in Sweden.

 

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Anagama Day 3-5: The Firing

The past three days have been spent at HDK’s kiln site at Nääs where we fired both the anagama (Mamagama) and Elinor (the smaller wood kiln).

Since Elin and I were scheduled for the first shift on Monday morning, we arrived on site around 6am and started up the anagama. We pulled out the bricks from the central air hole at the base and built a small brick box in which we set fire to some newspaper and placed dry kindling on top. We began by taking the temperature up at a slow pace, 25C per hour until reaching 100C, with the fire still mainly in the box outside the kiln. As a temperature gauge we used a pyrometer stuck through a crack in the door but later decided to place it in a hole in the kiln’s roof to get a more accurate reading of the inside temperature. We sealed the door with the daub we made last week, blocking out the bumble bee who was desperate to get inside despite the rising heat!

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Starting the firing
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Firing temperature schedule

After four hours we let another pair take over and we worked this way in shifts of four hours per team for the entire firing. Around 10am Elinor was started and taken up to temperature at a much faster rate. Reduction in Elinor took place on Monday afternoon when the kiln had reached 1000C. Creating a reduction atmosphere before this temperature means the clay can get reduced instead of the glazes which can cause it to trap carbon and turn a very dark colour which might be undesirable.
Sometimes when too many logs were fed in too quickly, black smoke started spewing out the chimney – a sign reduction was taking place, and we had to be more patient. It’s difficult to get the balance between allowing in enough oxygen for the flames and allowing in too much which starts the reduction process because the cold air blocks the flow.

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Feeding mamagama

When feeding logs into the kilns the temperature would fluctuate up and down a lot, sometimes peaking three times before finally decreasing for good. We were told to focus on the fire and not rely on the pyrometer though. It’s possible to hear when the kiln is ‘hungry’ again because the fire goes quiet and the crackling stops. We also used pyrometric cones placed at the front, middle and back of the kilns to check temperature. When the cones were bending unevenly e.g. if on the left side there were four standing and on the right five, we put in less wood and slowed down the temperature gain. Another way to check if the glazes are melting is to poke a stick in through one of the anagama’s peep holes and see if the pot’s surface is shiny enough to reflect off it, a technique I’ve used before when firing raku.

It’s important to make sure that the last logs have turned into embers before more have been added. Unless you do this you find yourself in a situation like we did early on Wednesday morning when the anagama would refuse to climb above 1220C. Looking into the airholes we realised that the embers were so high that they were blocking the oxygen flow into the kiln so the fire couldn’t grow. By pulling out logs and moving around the embers inside we fixed the problem, but the temperature dropped dramatically so we worried that we would be behind schedule. This could be fixed though by filling the door with long thin sticks sticking into the flames which raised the temperature.

In between shifts we took turns breaking down the logs with a hydraulic wood splitter and cutting some down even smaller with an axe. Smaller pieces of wood raise the temperature because they burn quicker but it’s best to use a mixture of thick and thin, long and short logs to get an even rise. When stoking the kiln, sometimes we would place two small logs crossed in the doorway to conserve heat.

Our fifth and final shift started at 6pm on Wednesday night. We kept the temperature around 1250C until 7pm when we topped at 1300C before bringing it back down to 1270C. We topped another 5 or so times before filling the kiln with as many long sticks as possible and sealing as many holes as possible in turns. This was probably the most stressful part of the firing because it needs to be done fast and the kiln is at its hottest. It was impossible to feed in logs for very long because your legs feel like they’re burning! It was necessary to wear welding goggles, scarves over our hair and mouths, long sleeves to cover arms and legs, sturdy boots and flameproof gloves. After sealing the gaps in the kiln with daub, cold water was poured all around the kiln to make sure none of the logs piled around it would catch fire once we left.

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The kiln in the evening sun, glowing at 1300C

 

Anagama Firing Day 1 & 2: Packing

Over the past couple of days a group of us current ceramics students at HDK along with some alumni, have come together to pack the 3.5m square anagama kiln at Nääs along with our smaller wood firing kiln ‘Elinor’. We’ll begin firing early Monday morning, working in shifts of four hours per pair until Wednesday night when the anagama reaches about 1300C. Elinor can be fired to temperature in one day so on the Monday we’ll be feeding two kilns simultaneously.

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My vessels for the firing glazed in shino, chun and green celadon

We began by emptying all our boxes and unwrapping our glazed pots. The anagama needed to be swept out before the kiln could be packed and wadding had to be prepared. The recipes for wadding vary but we used approximately 7 parts Alumina to 3 parts Kaolin (China clay) alongside rye, water and a generous shake of sawdust. This makes up a kind of off-white putty which is rolled into small cocktail sausage shapes that stick all the kiln shelves and supports together. Since the anagama slopes inside, the supports don’t lie flat but are angled on the base and need to be stuck down. Small balls of wadding are spat on and stuck to the base of pots before they’re placed in the kiln. It can be knocked off after the firing but without it the coating of ash through the kiln could stick everything together.

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Unpacked and laid out ready to fire

The chun type glazes were placed closer to the back of the kiln because they’re liable to run while glazes that required higher temperatures to melt were put close to the opening where the flame can hit them. Unbisqued work was also put to the back to avoid cracking. This is one of the differences between an anagama and an ordinary wood kiln – in a wood kiln the pots are shielded from the flames while in an anagama they are exposed to them. The temperature is also encouraged to fluctuate in this firing e.g after 1260C we will drop down to 1220, then up to 1270, down to 1240 and so forth to climb steadily, building up lots of layers of ash. We’ll have a pyrometer in the kiln but have also placed eight lots of seven pyrometric cones ranging from 1000C to 1325C in order to measure the temperature difference throughout. These cones are visible in the peep holes down either side of the anagama’s length.

Today we also prepared the daub to seal in the bricks at the kiln’s entrance – 50/50 sand and clay which could be dug up just a few meters away from the kiln, with added water to make a paste. A space for the firebox was kept at the front – here we can push in wood to feed the fire. The base of the entrance is built with alternating columns of soft and hard bricks so that the soft ones can be removed if needed to take out fuel from inside. Around the door too are hard bricks as supports. Some of the bricks at the front had to be sawed and sanded down to make them fit as tightly together as possible.

When packing it’s important to think of how the flames will flow. Like water they will always take the easiest route so it’s good to have a range of heights on each shelf and nothing too large close to the back which could block off flames to the smaller pots in the narrower end. Since we didn’t have quite enough work to fill Elinor, soft bricks were places in the gaps which will keep the air flowing evenly throughout. Generally the packing hasn’t been an especially difficult process, it just takes a lot of time and shuffling things around. Fingers crossed for the next step!

 

Masayoshi Oya

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Top half Japanese inspired, bottom half Swedish aesthetics

As part of our theory course today where Dominique and I discussed the different approaches to our disciplines in Sweden and the UK, we were visited by Gothenburg based Japanese ceramic artist Masayoshi Oya. He explained that since moving to study in the city years ago, his way of working is a fusion of the aesthetics of the two countries. Oya explained that in Japan functional tableware has a higher status than ‘art objects’, which is radically contrary to the west. Since the times of the samurai the society’s approach has been that the most beauty can be found in objects made for ordinary people.

He also described the difference in how both countries expect an object to be viewed over time. The Japanese concept of wabi sabi as he explained it means pots are glazed with a matte surface so that they pick up marks and scratches with use as they age. These imperfections make them more beautiful. On the other hand, in the west we want our ceramic to stay the same over time, to always look as brand new as the day we bought it.

His comments about time reminded me of the Chiharu Shiota exhibition at Goteborgs konstmuseum in which thousands of individual threads have been stuck together showing that an immense amount of time and effort went into making the installations. Similarly to the wabi sabi aesthetic, time has become tangible. By being able to visualise the time taken ( or the age in the case of wabi sabi) we have a greater respect for the art.

Oya explained that his black stain on porcelain signature decoration is inspired by calligraphy and specifically, calligraphy as approached by someone in the west who is more interested in the way the ink breaks at the edges than creating the lines of a Japanese master calligrapher. He spoke of the way swedes like to stack their tableware and have everything matching whereas in Japan it’s more common to have mismatching vessels to serve food it. Rosa recommended a book called ‘A feast for the eyes: the Japanese art of food arrangement’ which discusses further the relationship between Japanese food and utensils from the Jomon period to the present.

Artist website: http://www.masayoshi-oya.com/

 

Images: http://ceramicartistsnow.com/2018/02/04/studio-oyama-swedish-pottery/
http://www.masayoshi-oya.com/index.php?/works/hei-nippon/

Firing Fail

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I felt my heart sink when I went to open the kiln this morning. Instead of a rainbow of bright colours – lime greens, turquoises, salmon pinks and cobalt blue, I found my series of white earthenware thrown plates had all turned a yellowish off-white. Checking back over the glazes I’d used I realised I’d made some mistakes with the calculations when I tried to double the ingredients. I’d added 1% of coloured stain to the new glazes instead of 10% to the base glaze. 

I should have realised something was off by the pale colour of the glazes in liquid form. I was hoping to display these colour experiments on the wall for next week’s corridor exhibition but I’ll have to think of something else instead. The firing itself didn’t really go to plan either. The first time I though I’d put the kiln on, I came back in the morning to find the kiln still on 50C. I hadn’t pressed and held the start button down to begin the program!

Hopefully I’ve learnt a lesson to keep neater notebooks so I’m not cramming illegible glaze recipes into every area of free blank space.

Colour Compositions

After a conversation with Alice about Italian Still life painter Giorgio Morandi, I went searching for sheets of coloured card on which to experiment with photographing my series of sculptures from the ‘non-spaces’ project.  It’s fascinating to see how much the glare from the coloured card effects the objects. The dark blue which is my favourite gives a kind of softness and warmth to the glazes. The yellow is too sharp and harsh while the grey and light blue make everything look washed out.

It’s fun to take the shapes, forms and colours out of the context of the original project. Instead I’m simply working with their material properties in a kind of collage. This method has a lot in common with the work I saw recently at the Moderna Museet in Stockholm about ‘Concretism’. Concrete art ”accustoms man to a direct relationship with things and not with the fiction of things” by rejecting the creation of the illusion of space and three dimension on canvas. Similarly, I don’t want to create an illusion her. I am not interested in conveying any deep meaningful message, I’m only concerned with the balance of form, colour and of positive and negative space.

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In other news, I’ve started constructing larger sculptures using repeated press moulded sections in a white molochite stoneware. I’m really excited by the possibilities of working in this way. I like the control over the overall shape from the press mould. It restricts the decisions I can make so I only have to decide where to place them. This new clay is great to work with too – it dries quickly , supporting itself, and so far none of the joins have cracked. I want to see if it’s possible for the shapes to interlock and interact once they have been fired to form one larger piece.

 

https://www.modernamuseet.se/stockholm/en/exhibitions/concrete-matters/

 

Press Moulding

Last week I tried to make my own press mould for the first time, not very successfully. My plan is to create press moulds from composite thrown forms so I can build them together into large sculptures. I find it easier to hand build on a large scale with grogged clay, but it’s painful and not very effective to throw with heavily grogged clay, so I will create press moulds of the thrown objects instead. These forms will be for my final individual project . I’ve narrowed the brief down to explore the imagery of in Italo Calvino’s ‘Invisible Cities’, Ch. Thin Cities 3, especially the idea of a network of pipes as underground veins…

“Whether Armilla is like this because it is unfinished or because it has been demolished, whether the cause is some enchantment or only a whim, I do not know. The fact remains that it has no walls, no ceilings, no floors: it has nothing that makes it seem a city except the water pipes that rise vertically where the houses should be and spread out horizontally where the floors should be: a forest of pipes that end in taps, showers, spouts, overflows. “

I began by bisque firing a form I’d constructed from thrown sections then made a two piece plaster mould of this. The ceramic got stuck in the plaster when I tried to release it, either because I hadn’t used enough soft soap or because I hadn’t placed the middle line in the exact centre.

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Since for press moulding it doesn’t matter that the plaster is completely sealed together (unlike slip casting), I used glue to stick the broken plaster pieces together.

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This afternoon I’ve been making press moulded shapes ready to start sticking them together tomorrow to build large lattice structures.

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Alongside these I’ve been throwing functional ware for the anagama firing we’ll do at Naas in a couple of weeks. These 500g bowls are a little on the heavy side, I’m still a little afraid I’ll turn off too much clay and end up with a hole. I’m been experimenting with the angle and depth of the footrings to see what looks best…

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Cultural Differences between Sweden and the UK: Holistic Ceramics

“I think for Swedes, art and design and craft—woodwork, furniture, textile, lighting, ceramics, glass, architecture—very much inform one another,” …“There is not always crossover, but it’s a symbiosis; you can’t have one without the others.” – Saskia Neuman, Global Art Manager at Absolut, Stockholm.[1]

A couple of months ago my course visited Borås Museum of Modern Art to see something I was surprised to find in a modern art museum. Not one, but two exhibitions showcasing artists working in clay. The first was by contemporary Swedish artist Eva Mag and the second a retrospective of work by the more traditional potter Kerstin Danielsson. Clay and ceramics, often designated to the realm of ‘craft’ as opposed to high art worthy of a white wall contemporary gallery space, are something I’m not accustomed to finding at a modern art museum. This surprise encounter led me to think about the role of ceramics in Sweden in contrast to the British scene and ponder the more holistic attitude towards art that seems to be present here.

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Figure 1

Eva Mag’s multimedia work consisted of a film alongside life sized ‘body-forms’ made with clay filled fabric skins, wood and wax. In the video ‘Directions and shapes in a woman’s body’ (2013) Mag very physically manipulates blocks of clay into human form, constructing, deconstructing and finally wrapping the broken off clay pieces in the fabric of her dress. Through the film, the process of moulding the clay is shown to be more important than the final piece itself. Another artwork in her exhibition was a block of clay encased in a sewn fabric shell, suggesting the form beneath but hiding all surface. The design tenet of truth to materials is turned on its head. Like in Jone Kvie’s current ‘Metamorphosis’ exhibition at Göteborgs Konstmuseum where aluminium mimics cardboard, concrete and wood, in Mag’s work the materials are mysterious, disguised as other.

But it wasn’t just Mag’s work that made me question the traditional way I know of working with clay, on my course at HDK I have encountered a similar attitude of openness to other materials. I am surprised by the acceptance of mixed media approaches and alternative decorating techniques to glazes. Third year graduate Sara Kallioinen Lundgren often sprays her distinctive pop art style creations with bright spray paint. Others incorporate concrete, thread and fabric into their work and it seems common to introduce elements other than ceramic in displays – earth and gravel, photographs, video and sound. On our recent ‘Room’ course, one of the ceramics students worked exclusively with weaving and fabric. We have also collaborated with students from the jewellery and textile department to work on performance art pieces. There is the attitude that working things out in a different material first can be valuable.

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Figure 2

Back at my home university however I feel there is a more ‘purist’ and perhaps snobbish attitude to ceramics regarding surface in particular. Glaze chemistry and research is something we are encouraged to master while exploring ceramic surfaces through paint, collage and other techniques is perhaps seen as a ‘lower’ form of decoration as it requires less skill and knowledge. This desire to define ceramics according to more traditionalist attitudes appears to extend to the UK ceramics scene in a wider sense too. In contrast to Sweden, Britain has a huge selection of Ceramic festivals every summer – Art in Clay, Potfest, International Ceramics Festival, Earth and Fire and Ceramic Art Wales to name a few. These are exclusively ceramic fairs that typically last over a weekend. While these, alongside the popular TV show ‘The Great Pottery Throwdown’ have helped bring ceramics to a wider audience and give makers a great platform for selling their work, it may be that they are also contributing to the wider society seeing ‘pottery’ as something distinctly separate from other forms of art. As an example to illustrate this rift in thinking about ceramics, I can take the names given to the BA courses both here and in the UK. In Cardiff I study on an undergraduate course called BA in ‘Ceramics’ while at HDK the course’s title is ‘Ceramic Art’. The names alone suggest less division between ceramics as a craft and as a fine art in the Swedish art world.

After further research I discovered I’m not the only one to feel that Sweden has a more holistic art scene than the UK. Stockholm based artist Stuart Mayes (originally from London) in an interview with ‘The Local’ (Sweden’s English language news website) explains: ‘I find the Swedish art world to be more holistic, academic and sustainable. Swedes have a much more inclusive and open attitude towards art. I think the English government has quite a conservative perception of art; they don’t really value it as something important and that doesn’t empower me as an artist.’[2] Mayes isn’t a ceramic artist but his observations may also be true for the ceramics scene. To some extent though, the conservative attitude towards ceramics in the UK and desire to hand down pottery skills in the tradition of the British godfather of ceramics Bernard Leach, can be seen as something positive. Schemes like ‘Adopt a Potter’ in which potters are assigned apprentices to learn their ‘trade’ make sure that traditional skills live on and that the sloppy craft of ceramicists like Rebecca Warren and Grayson Perry have something to contend with.[3]
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Figure 3

As a result of working in what feels like a more interdisciplinary environment, my current work has evolved. I have begun to experiment with wrapping fired clay in thread as a form of surface decoration. Our text seminars have encouraged me to look at ceramics in a wider sense too. In these discussions we are each invited to choose a text to explore the theme of the course, however these texts can be anything ranging from a poem to a legal document to an exhibition review. After discovering an article about Rachel Whiteread’s concrete casts during our recent ‘Vessel project’ I began working with plaster in a different way to how I have before – creating plaster casts as the finished piece instead of moulds from which to slipcast. The unspoken rules to which I’ve stuck to in the past have been broken. However, since the casting of these forms wasn’t possible without the original clay moulds, isn’t this still ceramic art? Like in Eva Mag’s video, I am still working with clay but it isn’t the final outcome. I find myself eager to explore new ways of making which challenge the idea that a ceramic artist is exclusively a maker of clay objects.

 

Images

Figure 1. Detail from How Much Does a Mountain Weigh?’ by Eva Mag. Source: http://www.evamag.se/works.html

Figure 2. Artwork by Sara Kallioinen Lundgren. Source: http://sarakallioinenlundgren.com/

Figure 3. Detail from sculptural piece I made for the Vessel project. Ceramic and thread.

 

 

[1] Van Straaten, L. (2017, November) An Insider’s Guide to the Stockholm Art Scene. Retrieved from: https://www.departures.com/art-culture/stockholm-art-scene-travel-guide#intro

[2]  “The Art Scene in Sweden in Less Competitive” (2010) Retrieved from: https://www.thelocal.se/20150209/my-love-for-stockholm-has-no-limits

[3] Read more about ‘sloppy craft’: Adamson, G. (2008, March/April) When Craft Gets Sloppy, from Crafts no.211, 36-40

L5 Final Project Proposal: Hierarchy of Space

Title: The Fantastical Non-Space: Subverting the hierarchy of place

Aim: I want to redefine the way people interact with what might be called the ‘ubiquitous urban landscape’ and more specifically non-places in this environment – spaces that have no identity, diversity or surprise. I am equally interested in the holiness we give to religious sites and places of worship and want to explore how weaving a narrative around the mundane spaces we pass through every day can elevate them to a space of significance.

Why: I want to play with the dichotomy between non-space and the anthropological space by giving unimportant no-places an identity, sense of humour and aspect of diversity and surprise – all the things they lack. In ‘The Spell of the Sensuous’ , David Abram uses the example of the clay bowl to illustrate the magic of the everyday : ‘its very existence as a bowl ensures that there are dimensions wholly inaccessible to me – most obviously the patterns hidden between its glazed and unglazed surfaces, the interior density of its clay body’. What we perceive as reality is only a skin of the true essence of our environment. I want people going about their daily routines to get back that sense of wonder you feel at the world when you are a child. I want to give people time to stop and daydream, to think about the spaces we inhabit day-to day and the role of fantasy in our lives.

Background: I first came across the concept of non-places while researching for the room/space project and consequently began working with the non-space of tram interiors to try and highlight the beauty in the everyday, mundane and invisible man-made environments that surround us. I want to develop this further and make work that sits in these environments.

I have also recently been reading about the Slow Movement – specifically Slow food but also about Slow Cities and am interested in how these ideas around slowing down our pace of living so that we have more meaningful encounters with the world around us can be applied to my field of art and design. I will look at examples of art in the public space – graffiti, yarn bombing, guerrilla advertising etc. artworks that draw our attention to the environment.

Method: I plan to create a series of site specific works around the city of Gothenburg, turning non-spaces into spaces of significance or interest. One method would be to create ‘relics for a non-place’ by spinning a made up/fantasy narrative about a space, turning these sites into fictional places of pilgrimage. I am interested in using augmented reality through QR codes or apps such as Augment and Aurasma alongside the sculptures to communicate the made up stories/legends associated with a certain place. I am not sure yet if the work will take the form of a series of photographs.

I intend to use writing as a ‘material’ as well as method for generating ideas for what my work should be about. I have never used this approach before but I would like to try and respond to a space by writing poetry/fiction and then working from that. I want to spin fictional narratives around spaces. I feel inspired after seeing a piece by artist Remy Dean about a fictional letter found in an attic. How important is truth in art if the story is good? I have also been thinking about the work of Jospeh Beuys – Beuys frequently blurred the lines between art and life, and fact and fiction, by suggesting that what one believed to constitute “reality” mattered more in matters of human action, social/political behaviour, and personal creativity than any definition of everyday reality based on traditional standards of “normalcy,” or social codes of so-called “proper” conduct.
http://www.theartstory.org/artist-beuys-joseph.htm

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Joseph Beuys, Sled, 1969
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Beddgelert – The legend of Gelert the Dog
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Mythical Locations on road signs in Didcot, Oxfordshire (once labelled England’s ‘most normal town’)

Keywords: fiction, non-space, unexpected, joy, magic, holy, narrative, relic, religious art, altars, pilgrimage site, humour, truth…

Primary research choosing sites to work with – Borrow a camera and respond through photography, sketching, and writing.
Examples of non-spaces/low spaces : Underpasses (Banehagsgatan)..Concrete
Industrial area tram stops (Gamlestadstorget)
Car Parks (Nordstan)
Centralstation

Also visit and respond to places of worship in the city – Masthuggskyrkan, Oscar Fredriks Church…

Thoughts that arose in the feedback session: 

  • How do I define what I consider a non-space, which writers influence my POV? Can natural spaces also be considered non-spaces? Consider different people’s perspectives of spaces, non-spaces might not be invisible/insignificant to everyone.
  • Do I have a political motivation for the project, what does it communicate about urbanisation and gentrification?
  • Will people stumble upon the artworks or will I create a guided tour/app for people to discover them?
  • Will my stories be entirely fiction or should I research the history of Gothenburg to base some of the information on facts?
  • Will I work with one site or multiple?

Image sources:
http://www.artnews.com/2015/03/20/academic-artist-scholar-shaman-joseph-beuys-on-his-mystical-objects-in-1970/
http://www.notey.com/blogs/road-signs
https://www.youtube.com/watch?v=PMll6yQaH1A

 

‘Stannar Vid’ – Non-Spaces Final Exhibition

 

On Thursday we culminated the Room/Space project with an exhibition of the work we have produced over the last month. My playful and brightly coloured body of work explores the concept of non-spaces and is an attempt to draw attention to the transitional invisible spaces we pass through every day without being aware of them. In order to highlight this my work was presented in alcoves in the arch spaces of the walls in the HDK’s stairwells, spaces we don’t often linger in but which become complex and beautiful architectural spaces once you start to look carefully.

A collection of 14 hand-built sculptures sit inside four shelf spaces of varying height along the staircases, the steps offering the opportunity to view them from many different angles. During feedback it was pointed out that these forms look like little figures interacting with each other, each with a different personality. The space between each of them gives them a sense of isolation though, which communicates the anonymity and isolation of individuals as they interact in non-spaces. Students pointed out that the forms were familiar and look significant in some way, although they weren’t sure where they recognised them from. Perhaps a well-chosen title could be a key to understanding the pieces. Maybe something like ‘Stannar vid‘, which is the automated voice announcement on Gothenburg trams to tell you your next stop. It suggests the way the staircase is a space for ‘getting to’ somewhere else, not a place just ‘to be’.

 

The colours turned out much patchier than I intended but this nod towards rust and weathering also suggests the wear and tear caused by many people passing through a space day in, day out. I need to work on my glaze application, dipping and spraying would have created a more even surface colour than painting on. I’ve learnt the important of thinking ahead to decoration in the making stage too – the manganese in this dark clay has eaten away at the glaze. The red glaze turned out much pinker than I intended – with more time I would have perfected the colour matches by making more glaze tests.

 

Klara mentioned how she began noticing scratches and paint splatters on the wall which echoed the forms of the sculptures and other students mentioned the key word ‘curiosity’. I believe this display of work has been successful in changing he way we interact with this non-space but equally, by using forms inspired by tram interiors people explained how not only was this space transformed but that when they travelled home on the trams they would be looking out for these forms and textures by searching the other way around. Two spaces transformed in one!

Thanks Will Treasure for some of the photos 🙂