Peer Review Presentation

Peer Review presentation

Context – While in the city centre I came across these bollards outside the St David’s centre inviting passes by to look inside at tiny scenes of people. Artist Jane Edden created the scenes inside eleven bollards, deliberately making them black and white to contrast with the vibrancy and bustle of shopping centre: ‘I wanted them to be little moments of calm so that when people do bend down and look inside they completely enter another world.” The scenes reminded me of photos of the inside of musical instruments like violins, which look like expensive apartments because our sense of scale is distorted. Similarly I hope to play with the space inside the objects I make, drawing people in to a moment of calm.

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Context – This ‘tomb’ ceramic piece in Stoke’s Potteries museum has a hole in the top which casts a theatrical spotlight inside the form. I don’t have any details about its origins but could email the museum to learn more. The beautiful play of light reminded me of the shadows on Youngen’s work at this year’s BCB. How can my sculptures capture and play with light?

Slide2 (800x450)Context – In regards to my making methods Bryan Newman‘s composite thrown and distorted forms are a big influence. I like their playfulness and repetition of the circle motif which is loaded with symbolism.

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Skill – I’m still developing my skill of constructing with thrown forms. I’m learning that it’s best to dry these sculptures very slowly, wrapped in plastic bags to avoid cracking. I’m also aware that this process pushes me to improve my throwing because the imperfections e.g uneven walls in the vessels are revealed when they’re cut up. I’ve learnt to throw in porcelain too but have yet to gain confidence with it to start constructing composite forms. This is something I want to explore in future.

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Skill – In the past, if a glaze didn’t have the desired results, I found a new one. By learning  how to change elements in a glaze to get different effects, I feel confident altering recipes to tailor them to work for me, rather than starting from scratch each time.Slide5 (800x450)Skill – Collaborating on this project has made me consider my work in new ways. I’ve started documenting how I work with film and sound instead of simply static images. Taking time out to discuss ideas with another student rather than a tutor has been fun because some of the ideas are a bit ‘out there’ and probably not really achievable in the short space of time we have.

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Idea – In the past I haven’t thought much about how my art will be displayed as I’m making it, but I’m starting to find myself interested in art that you interact with in ways other than looking at an object on a white plinth.Slide7 (800x450)

Idea – I began by throwing random vessel forms then constructing them without a design in mind but this resulted in pieces that didn’t look balanced and were missing bits and I ended up with lots of leftover forms to reclaim. I’ve started sketching designs then working from these instead, to save time.Slide8 (800x450)

Idea – A friend, Ian Hinchliffe suggested to me the sculpture below would look great on a big scale so you could walk inside it, so I’ve decided to think about how my pieces would look scaled up or down. I want to learn how to use Photoshop to make mock-ups of these as public artwork, thinking about the work of Norwegian artist Siri Aurdal I saw in Venice.

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Frames and windows

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Hannah pointed out that these photos in Cardiff museum’s current exhibition ‘Swaps: Photographs from the David Hurn collection’ might be of interest to me because they explore framing and windows. The bottom one is ‘Alderney’ (2003) by Raymond Moore and the one above is by Paddy Summerfield from a series ‘Mother and father’ (1997-2007). Wandering around the museum this afternoon as part of Constellation, we were asked to consider how objects have been placed, how juxtaposition creates a new narrative, lighting etc. Visually these two photos are linked by their angular compositions, in particular the diagonal line in their top centres. The notion of looking through a frame or portal also links them, the top puts us in a position of power since the elderly couple in the garden don’t know they’re being watched. Seen in the context of the series it was originally made for it speaks of love and loss, but here it becomes sinister, almost predatory. Perhaps this in the context of all the photos documenting hate, violence and war that are in the museum collection.
‘Alderney’ has a surrealist quality because of the shock of seeing what looks like a TV screen by a country road, and yet the same bright screen would look right at home in a city centre. The only living thing in this image is the dog on the screen which is only alive in this imagined, unreal space. These ideas of looking through and into other realities are what I’m trying to explore in my current work.

Katharine Pleydell-Bouverie

Dwi di ddewis ysgrifennu post yn y Gymraeg am y tro cyntaf ers i mi gychwyn yn y brifysgol dros flwyddyn yn ôl, i weld sut mae’n teimlo i newid iaith wrth siarad am fy ngwaith.
Des i ar draws casgliad o waith cerameg Katharine Pleydell-Bouverie yn yr amgueddfa ‘Potteries’ yn Stoke, a syrthio mewn cariad hefo’i gwydreddau lludw. Roedd y gwydreddau mewn arlliwiau o las, gwyrdd a llwyd yn dibynnu ar ba fath o bren oedd wedi cael ei losgi. Yn y llyfrgell ffindiais ei rysait gwydredd lludw a chymysgais hwn hefo’r lludw oedd ar gael yn adran cerameg CSAD (dwi angen gofyn o ba goeden daeth hwn) Isod mae’r gwydredd sydd wedi cael ei danio i 1280C mewn gostyngiad.
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Rysait gwydredd afloyw syml KPB:

Lludw                          40
Feldspar potash        40
China clay                  10
Ball clay                      10
(Mae ychwanegiad o 10 gwarts yn gwneud o’n llai afloyw)

Y canlyniad ydi gwydredd gwyrdd gwelw, naturiol. Fy mwriad yw casglu lludw o gyfres o brennau gwahanol a gweld sut mae’r lliw yn newid hefo bob un. Gallaf hefyd newid y feldspar i roi effaith gwahanol (mae’r post diwethaf yn profi hyn). Dwi ddim yn sicr sut i gasglu’r prennau, gallaf brynu nhw ar-lein ond bydd y prosiect yn fwy personol os gallaf gasglu’r pren fy hun.

Dwi’n gobeithio defnyddio’r gwydreddau yma i addurno’r gyfres o jygiau dwi wedi taflu mewn clai white st Thomas. Gobeithiaf dysgu mwy am danio gostyngiad oherwydd bod y lliwiau yn fwy soffistigedig ac mae’r clai yn troi’n lliw hardd mewn awyrgylch isel mewn ocsigen. Dwi di ddod o hyd i lyfr ‘Katharine Pleydell-Bouverie: a Potter’s Life 1895-1985’ yn y llyfrgell sy’n cynnwys lluniau a ryseitiau gwydreddau wedi gwneud hefo lludw cedrwydd, cnau Ffrengig, drain, rhosyn a.y.b.. i grochenwaith caled. Er bod ei gwaith hi wedi cael ei danio hefo coed tan, dwi’n gobeithio cael effeithiau tebyg hefo tanio odyn nwy.

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Squares with Two Circles

Arising from our first theory/practice session last Tuesday I’ve identified the artist Barbara Hepworth as a key reference to my project, in particular a bronze work of hers called ‘Squares with two circles’ which I saw a couple of years ago at the Kroller Muller sculpture park in Holland.

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Image: https://krollermuller.nl/en/barbara-hepworth-squares-with-two-circles

I remember I was drawn to this sculpture enough that I sketched it – the simple geometric forms at a slightly jaunty angle and its pleasing sense of balance gave it a kind of purity of form. The fact the lines aren’t parallel gives it an organic quality that helps it fit in with the natural environment. On each side only one of the circles funnels out which gives the two circles different qualities of depth and the way the patina on the surface is lighter in the upper half makes it appear to be dissolving into the sky at one end and firmly grounded on the other. The original form was made in 1963 although copies were made later which explains why there is also one in the Yorkshire sculpture park.

I’m interested in Hepworth’s forms in regard to my current project because of the way they act as framing devices for their environment, the holes referencing windows. Her emphasis is on form and texture rather than colour. I’m interested in the ways the forms I make create different tones of dark and light by the shadows they cast, so how colour is created by the artist in collaboration with the environment.

In the sculpture park the work is displayed outside the Rietveld Pavilion, a building in which you are at once outside and inside. This is an interesting space because of the way it blurs boundaries, the architecture more a huge sculpture you can walk through really. Many more of Hepworth’s artworks are displayed here which is appropriate since her work explores inside forms with carefully constructed positive and negative space.

I found information about this work on the Tate website and it discusses the holes in the form: ‘The integration with the landscape – one of Hepworth’s abiding concerns – is made actual by these openings, through what she termed the viewer’s ‘sense of participating in the form’ (Bowness 1971, p.12).’
I want to explore this idea that the audience can ‘take part’ in the form. It’s almost as if the interaction between you and the artwork becomes a performance, because you are not just seeing the artwork but using it as a device to look through, to perceive the world differently through, like a telescope or pair of glasses.
Placement therefore becomes important because what the sculpture ‘reveals’ through the frame will depend on where you stand in relation to it. It was important to Hepworth that the sculptures were displayed in the landscape as she explains: ‘I always imagine the sort of setting I would like to see them in, because I firmly believe that sculpture and forms generally grow in magnitude out in the open with space and distance and hills’ (Warren Forma, 5 British Sculptors (Work and Talk), New York, 1964, p.15)
I believe she may be speaking about the powerful way the changing of natural light and weathering of the material (through the day and seasons) can bring a sculpture to life in a way placing it in a room in an art gallery can’t.

Hepworth quotes from: http://www.tate.org.uk/art/artworks/hepworth-squares-with-two-circles-t00702

Artist Research: Bryan Newman

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‘Teapots’ stoneware, early 1970s from book: Studio Pottery in Britain 1900-2005
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‘Bobbin tree’ with ash glaze in the V&A
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‘Bobbin tree’ drawings showing different viewpoints
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Stoneware assembled from thrown sections, mid-1960s
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Thrown and reconstructed Bryan Newman sculpture in the V&A

I keep stumbling across and finding myself in awe of work by potter Bryan Newman. A graduate of Harrow School of Art, Newman became well-known in the 1960s for his sculptural pots of townscapes and bridges, but I’m more interested in his making process than his illustrative, popular work. I’m fascinated by the way he has perfected assembling pieces that have been thrown on the wheel into whimsical sculptures. I first remember coming across his work in the V&A when we visited in our first week at CSAD last year but didn’t realise at the time how much the piece I saw there would have an impact on me. When looking for inspiration for my centrepiece  the sculpture above was a catalyst for my idea development.
There’s something almost mathematical about the way his constructs are made up of mainly circles, cylinders, perimeters, circumferences, funnels and curves. They link in with the article I found in the archive about the ’roundness of things’ and have got me thinking about the symbolism of circles and what they represent. Working on the potter’s wheel you can’t escape that circular spinning motion and even working with clay itself is an endlessly repeating cycle of making, drying, firing, making etc. In my essay before summer I wrote about the philosophy of balance and it’s relation to Japanese ceramics in particular. What more fitting symbol of balance is there than the circle of yin and yang?

I really enjoyed the process of constructing with thrown forms for the L4 centrepiece project and inspired by Newman’s work I want to continue to develop this during the coming year. The quick production of thrown forms and the slow, patient and careful process of joining them together afterwards means two very different sets of pace of working are involved.

An Ideal Home: Creating Context

I identified last week that the spaces I wanted to consider in more depth were the tiny windows in the buildings at St Fagans. These are frames that reveal, to a limited extent inside and outside space. As I want to explore the throwing process further I decided to explore the inside of thrown forms. Carrying on from throwing tall, narrow jug forms the first week back, I threw some similar shapes but pushed them to the point where I nearly lost control of the clay’s direction so it bulges. These are thrown in White St Thomas – the photographs below showing the expressive folding landscapes on the inside.

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Nick and I have decided to work collaboratively on this project since we’re interested in exploring similar ideas around optical illusion (e.g. tones of shadow and light created by the form itself and throwing lines), changing perception of objects by subverting the ordinary vessel (such as displaying them horizontally on a wall or from above) and challenging how we engage with an artwork. The aim is to make ceramic objects that encourage people to think about their physical placement in relation to the artwork. By creating frames and tunnels for the audience to look through or into, they will have to move around in a kind of ‘dance’ with the object, getting closer to peer inside and explore this interior space from different angles. In a tutorial with Natasha on Tuesday she suggested thinking of the concept of mindfulness and the pace with which we engage with objects. How can a ceramic artwork make the viewer more mindful? Perhaps having the eye follow the spiral of the throwing wheel into the artwork, like an Alice in Wonderland rabbit hole, they can be made to slow down the pace at which they’re gazing over the artwork’s surface.

Below are some rough sketches of my initial ideas, thinking about how a collection of these thrown forms can be brought together in a larger sculpture that can be looked through or into…

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Initial Research – St Fagans

Last Tuesday we made a trip to St Fagans National Museum of History just outside Cardiff – an open air museum which contains buildings from different historical eras from all over Wales. We were asked to identify the five things below as a starting point for making.

  1. Functional artefact that intrigues you: Tiny windows

Surprisingly for me, the artefacts that I found most captivating were the buildings’ tiny windows. Lots of the houses at St Fagans where built at a time when glass was expensive or even when windows were uncovered and protected only by cloth or animal hide. As a result most are tiny squares that you have to make a conscious effort to interact with, looking in or out of. To us today, used to big windows that let in lots of light, the tiny windows appear almost prison-like.

I began thinking of how windows are interesting metaphors and remember discussing how in Emily Bronte’s Wuthering Heights they are an important symbol of the division between nature and society, the threshold between the outside and inside world. Looking out of a window you can only see so far, you have a narrow viewpoint. Thinking about today’s ‘Collections’ presentation and how some of the images I chose were linked by the theme of ‘journeys’ ( a journey through life, travel, a walk…) it strikes me that in films looking out of windows often prefigures a long, soul searching journey, or at least the decision that something needs to change.
While researching windows in popular culture I then came across this short but fascinating article called ‘The importance of staring out the window’ which says

The point of staring out of a window isparadoxically, not to find out what is going on outside. It is, rather, an exercise in discovering the contents of our own minds’.

The article goes on to suggest that in a better society people would not have to feel guilty for daydreaming while staring out of windows, it would be seen as time well spent and reminded me of words from a poem called Leisure by WH Davies:
‘What is this life if, full of care
We have no time to stand and stare.’

As a result of this train of through, I want to consider ways people could interact with objects I make by looking inside them through openings or ‘windows’ of sorts. I want to explore the spaces inside objects. 

Playing around making tall forms on the wheel last week one of my pots got twisted and resulted in a beautiful swirling form inside the vessel. I love the throwing lines that are visible, they have a rhythm to them like a pulse or heartbeat. Could this interior form reference blood vessels, or the concentric rings of a tree trunk? Thinking about the power of repetition relating to collections, what if I had lots of forms similar to this, growing together?

2. Decorative artefact that complements its environment: Hanging objects

Not exactly decorative objects, but the way kitchen utensils were displayed by being hung, especially in the castle’s kitchen interested me. Although they’re useful artefacts they almost become a form of decoration. The rhythm of the vertical lines put me in mind of soundwave graphics as well as the first piece of work I ever saw by Anne Gibbs – a collection of hanging slip-cast forms.

3. Restful space: The Castle gardens

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I came to the castle gardens toward the end of our day, looking for somewhere peaceful to sit down for a break. Thinking about working in this kind of environment I thought back to throwing at La Perdrix in France and how I enjoyed the peacefulness of working outside in nature. I decided if I was asked to create an outdoor sculpture to be situated at St Fagans it would be growing out of the lake like the lily pads.

4. Disturbing space: Bedroom at Abernodwydd Farmhouse

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Carved into the headboard of the large sturdy four-poster bed was the word ‘death’ and a stick man holding what looks like a bow and arrow. It made me think of how much history the bed had, generations of families must have been born and died in the very same one. This farmhouse and the other ‘long-house’ Cilewent Farmhouse were dark, smoky and claustrophobic spaces even in the brightness of mid-day and would have only been lit by dim rushlights.

5. A building with an interesting human narrative: Prefab house ‘Tin palace’

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Image: www.peoplescollection.wales

This aluminium bungalow is an example of the prefab houses that appeared after the second world war to house people who had lost their homes in the bombings. With so many refugee crises in the world today, the housing crisis and people losing their homes due to rising water levels, it felt relevant to today’s world. These bungalows were manufactured by factories that produced aircraft during the war. Rather madly, a factory which, during the war created war machines to destroy homes, in peace time became a factory to rebuilt homes.