Birthday Glaze

20180209_161019 (600x800).jpgRenata held a fun glaze workshop with us in which we made a glaze based on our date of birth. We randomly chose glaze materials to mix in proportion to the year, month and day we were born. By comparing each other’s glazes we could get a good idea of how each material behaves when fired.

My glaze was the result of mixing a high proportion of whiting with some dolomite and ball clay and a small amount of Wood ash. Fired to stoneware temperature the result is a very dry, matte  and slightly flaky off -white/pale green glaze blending into pink lower down in a gradient effect. The ash has pooled in a shiny green line along the base where it has melted. It’s not suitable for functional ware because it hasn’t fully melted, but I’m excited to use it to decorate sculptural forms.

Whiting (calcium carbonate) acts as a flux and also creates matte effects (as does dolomite). Ball clay is a source of alumina and enhances glaze suspension. I want to make a series of glaze tests using the same four ingredients but changing their percentages so that I can get a better glaze fit.

 

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The Beauty of Shadows

I’ve come to the realisation that much of my recent ceramic work has been concerned with ‘the vessel’ without myself being conscious of it. The deconstruction of traditional ceramic bowls and cylinders on the wheel and then reconfiguration of these recognisable vessel forms into a new form with openings that also contains space and holds volume has been central to these experiments.
Our seminar discussing the vessel threw up the question ‘Can’t anything be a vessel or a container?’. Everything is made up of something, even atoms contain a nucleus, electrons and forces of energy. Every sculptural three dimensional form with an inside or outside, despite serving no functional purpose contains in it connotations and metaphors, layers of meaning as well as air, space, darkness or light. Many of the traditional South American vessels at the archives on Tuesday were empty but their insides were a secret, invisible from the outside, guarded from view by the shell of the exterior. These forms contained darkness.
I keep coming back to the small tomb sculpture at the Potteries museum in Stoke-on-Trent. Something about this artefact and the way it holds light, containing a spotlight in the darkness of its interior resonates deeply with me. I recently read Tanazaki’s essay ‘In Praise of Shadows’ in which he discusses Japanese laquerware and how it’s subtle beauty can only be appreciated in the dimness of candlelight : “I discovered in the gloss of this lacquerware a depth and richness like that of a still dark pond, a beauty I had not before seen”.

One of the ideas that interested me in the seminar was how objects and things can contain memory, both physically like a USB stick, metaphorically like an old heirloom or more abstractly like the brain and body. My intention though is to focus on something perhaps equally ungraspable  – light. Memories feel real and they’re how we navigate the world and construct our current realities but they are only the creations of a complex organ in the body. Light similarly feels concrete and controllable, but the more you think about it , the more magical and abstract it seems. How can I create vessels that hold light, not in the sense of lamps or candle holders but vessels that hold light and shadow in their form, that capture light (whether natural or artificial I haven’t decided yet) and play with the tones of shadow.

The idea isn’t fully formed yet and I expect to deviate along the way, but it’s a starting point. Light and darkness control our lives. I feel more of my attention will be drawn towards that here in Sweden where the hours of daylight are short in winter but the extreme opposite is the case in summer where up north you can even experience the midnight sun.

I feel especially inspired by an exhibition on at Gothenburg’s public library at the moment, ‘Daylight and Objects’ by Daniel Rybakken, which explores illumination. His collection of sculpture objects made from glass and aluminium that border the line between furniture design and installation art (perhaps like Donald Judd) reflect and diffuse the artificial light in the environment to create the illusion of natural light. His theory is: ‘A lack of natural light in a space can create a feeling of being enclosed. An illusion of daylight creates a feeling of an expanded perceived space by giving information about what lies beyond the physical space. The presence of daylight lowers the contrast between the indoor and the outdoor.’  This knowledge must be known by people who work with space – interior designers and architects. I’m particularly interested in the architect Renzo Piano as an advocate for the use of glass and the importance of buildings that let in light. Perhaps optical illusions with light is a path I should explore in the next weeks.

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Surface Daylight (2009-2011)

 

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Right angle mirror (2010) – the illusion of an object suspended in space

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.