L4 Subject Summative PDP

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Things can be otherwise – I’m a bucket becoming a fire

I feel this year I’ve focused (although not as much as I could have) on improving my throwing skills. It’s a process I enjoy, but rather than viewing it as a means to an end, I see it as more as a starting point for the process of construction, much like artists Wouter Dam, Carina Ciscato and Walter Keeler.

I began the first project ‘Many a Slip’ trying to repeat throw a particular form – that of a distinctively shaped mug I remembered from home. I discovered though, when I found a picture of the actual mug, that my memory of the object was distorted, a caricature of a mug. This made me think of how unreliable memory is and blind drawing exercises in the New Materialisms Constellation study group explored these ideas of how we perceive with our senses further. This idea of memory and trace fed into the ‘Cafe Society’ project. My cafe was to be a piece of home in Cardiff, somewhere I could go to escape the busy city and feel I was back in the wild, mountainous landscape of North Wales. The layout of the place would be similar to my favourite coffee shop in Dolgellau – T.H.Roberts, the old ironmongers, the top floor kitted out with second hand sofas, and they would serve the local speciality – Popty’r Dre’s honey buns.

I made a series of my ‘home’ mugs which I hope to saggar fire tomorrow with combustibles sourced from the Dolgellau area – seaweed and shells from Barmouth beach and sheep wool and lichen from the farmers fields on the foot of Cader Idris. I want the surfaces of the mugs to show a physical trace of my home. The project has made me think of the things I take for granted and how your memory of a place can change when you move away and grow older. It makes me think of Malcolm Pryce’s Aberystwyth Noir novel series – about an alternative underworld Aberystwyth which he only began to write about when he moved away from the place.

With the handbuilding of thrown forms I find myself returning to the theme of balance, which happened to be what I wrote my final Constellation essay about. I find my making process if becoming more and more process driven rather than schematic and pre-planned. I find I like to play with the material and discover ways sections want to fit together harmoniously and naturally rather than trying to bring a drawing or plan into being. This thinking has definitely been influenced by learning about ideas of the agency of materials in Constellation. I feel as a result though that I’ve abandoned research a bit and work in sketchbooks less than I used to.

I noticed this change of thinking most when I came to the final ‘Centrepiece’ project and originally wanted to make an interactive piece or a game, but realised I didn’t want to work to a plan. It’s also becoming more and more important to me that what I make shows a trace of how it’s been made. This is why I like the flow of throwing lines and marks where the fire has licked the clay in kilns that aren’t electric fired. I hope to move away from the standard oxidation electric kiln firings next year. I’d especially to learn how to use the gas kilns for reduction firings and look more in depth at alternative firing methods like raku, saggar and wood firing. I liked the unexpected, uneven results and surface textures you get this way, like the ones on my final centrepiece.

Looking through my blog I feel it would help to post a summary of my developing ideas at the end of each week next year so I can see a more clear progression. Also I’d like to upload films of myself working so I can more dynamically document the skills and techniques I’m learning.

 

 

L4 Constellation PDP

Coming to Constellation with no background of studying philosophy, I found the arguments and concepts difficult to grasp at first. I feel I’ve been introduced not so much to a new field of knowledge but more to a new way of thinking about the world and my place in it. Initially I didn’t feel confident engaging in class discussions, worried I would say something ‘wrong’ or worse, silly, but as the year progressed I’ve realised these debates are more about questioning and thinking independently than knowing information, and I’ve started to grow in confidence and enjoy them. I feel I’ve significantly developed my critical thinking skills as well as my ability to listen to others and engage in debate. I’ve realised that I don’t have to agree with anything or everything, all things can be questioned and picked apart. Previously I’d considered my work in a historical context but not a philosophical one. Constellation has made me think about the theory that underpins my work and I feel it also gives me a deeper understanding and appreciation of the artwork of others.

During the first term my study group was Martin Woodward’s ‘New Materialisms’ – an exploration of the debates surrounding phenomenology. Each week, as a group we took part in a different drawing or making activity and analysed the results. I felt this was a fantastic introduction to constellation because I was able to ground complex theories and ideas in something that felt real and concrete. In contrast, Clive Cazeaux’s ‘Things can be otherwise – an introduction to philosophy’ (my second term study group) was more centred on group discussions. Although I found these more and more valuable as the term progressed, I felt more engaged and remembered what I’d learnt better with interactive activities.
Previously I hadn’t questioned why I wanted to work with clay in much depth but learning about theories such as the agency of materials discussed by writers like Ingold and Jane Bennett have helped me better understand why I’m studying ceramics. For last term’s formative essay I wrote about the hierarchy of senses in society, and the more I researched about society’s oculacentric culture, the more I felt that ceramics and craft have an important role to play in making people aware of a more embodied existence where we pay attention to all our senses.
A book I received for Christmas about practicing mindfulness (which focuses on paying attention to all our senses) was an important catalyst in getting me interested in Eastern philosophy. I felt a breakthrough came for me during a class discussion in ‘Things can be otherwise’ about theories of technology which led to discussions about agency and the difference between eastern and western thought. I felt I’d fallen across something that really excited me. Finally, I could begin to draw connections with the ‘New Materialisms’ study group about how much we shape the world and are shaped by it in return. I found that eastern, specifically Japanese ideology was more in line with my definition of beauty and the values I hold important, so I chose to explore how eastern philosophy relates to material agency in my essay, using the work of Bernard Leach as an example.

Having spent time in the study groups analysing small passages of complex essays in detail, such as Joseph Jastrow’s ‘The Mind’s Eye’ I have learnt that by dedicating time and attention to pieces of writing that at first glance seem inaccessible, I can slowly begin to understand what the author is saying. As a next step I need to spend time practicing reading the style of academic writing I’m becoming more familiar with through Constellation. I feel the time I’ve already spent has been rewarding and enlightening as I begin to find connections between the theories of different writers. Although, having read Tim Ingold’s ‘Making’ I now know that academic writing doesn’t have to be dry and difficult to follow and this has reinforced the importance of knowing the audience you are writing for. What I especially like about Ingold’s writing is that he gives examples of activities he’s done to illustrate his theories, and like the activities we did in our study group, it makes them more memorable.

I felt the keynotes were a bit of a lottery, some being worthwhile but others not so much. One that really stood out for me was Cath Davies’s ‘Purple Haze’ in which she discussed how Art Nouveau had a heavy influence on 1960s Psychedelia culture. I became interested in the theory that nothing is really new, elements of past trends are just re-configured and combined with the present. I recognised this was why I’ve had an obsession with Quentin Tarantino films, because of how well Tarantino knows his film history. When potter Geoff Swindell visited CSAD to demonstrate his making techniques, he spoke openly of his distaste of potters today who work in the tradition of Bernard Leach, making pots that resemble those from ancient Japan. Although I agree it’s important to move with the times, before I dismiss this ceramic tradition as being old fashioned I want to better understand it so I can learn from it, hence why I wrote the essay about Japanese ceramics and philosophy. While constellation addresses theory, I feel what may be missing from my course is the historical context. I attended some of Jon Clarkson’s fine art lectures, but we have no equivalent for ceramics.

Above all constellation has taught me to ask questions even if at the present moment I can’t answer them. While subject deals with what and how I make, constellation deals with the equally important ‘why’. It has given me a more holistic approach to life and making, now that I begin to see the interconnectedness of materials, tools, the body and the environment. As a practitioner, this has made me more interested in exploring art that can be interacted with and is currently feeding into my centrepiece project where I hope to make a table centrepiece that can be played as a game.

Loud colours and sharp lemons

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Above: drawn from touch  Below: drawn from sight

The first drawing is of an object (a metal fastener) perceived by touch alone. The ones below were drawn while looking at that object afterwards.
Drawing the object from touch, there was no pressure to create a ‘good’ drawing. I knew that even my best efforts would probably result in inaccuracies and because of this the drawing appears looser and more carefree than the other two. I took the approach of a continuous line drawing, since this technique felt more appropriate to translate my perception of the object through touch. Holding the fastener in my hand, my finger worked to feel around it in a continuous line motion. In contrast, in the second drawings the lines are much more confident and precise but lack expression and spontaneity.
I find it interesting how my mind imposed memories on the object as I felt it. It made me think of a specific carabiner I thought I’d seen my dad use, so I drew the criss-crossed texture that one had on its grip instead of feeling carefully and discovering the texture was instead vertical lines. I imagined the metal to be dark purple in colour, probably thinking back to the smooth metal texture of a purple camera I owned years ago. I had a much more personal experience of the object by just feeling it.
In the first drawing the metal is a lot thicker than perceived by sight. Might this have something to do with the perception of temperature? The metal felt cold to touch, could this have led me to feel it occupied a larger space, that there was more of it?
The drawing from touch is also noticeably larger, maybe because I felt the need to leave room to accommodate future details on the object I might perceive later on. I felt this approach focused my attention on the process of drawing in contrast to when I drew the fastener while looking at it. This instead focused my attention on the outcome of the activity rather than the activity itself.