Although originally I wanted to make a centrepiece that worked either as a marble run or a game, I’ve ended up making purely sculptural shapes. Such an interactive object would require planning and designing but I’ve been more interested in exploring the properties of clay and responding intuitively to the material, essentially making it up as I go along. As a result I’ve been continuing to develop the technique I used on the oil lamp project, throwing forms then cutting them up to handbuild with. The resulting forms have a tension and springiness when held that wouldn’t be possible to achieve with slabs. It’s as if they hold a trace of the energy and movement involved when throwing.
I’ve also been experimenting with throwing shapes that show signs of the material’s agency, which I explored in my recent constellation essay – vessels with ridges and throwing lines visible. I’m interested in showing the movement of the clay on the wheel and pushing the clay to the point it’s nearly collapsing to achieve a balance between what I want and what the clay wants. According to the Japanese philosophy I’ve been reading, balance is the way to achieve true beauty!
I find the throwing lines in the above ‘Wouter Dam’ inspired form aesthetically pleasing but they stop and start instead of flowing seamlessly through the sculpture. I want to find a way of letting the flow of clay on the wheel speak and uniting these sections together into an individual sculpture that flows as one. I visualise it as one giant jigsaw puzzle.
I used ‘Brighton rock’ coloured household paint from Wickes to colour this test piece, in order to see quickly how it would look with a uniform, flat bright colour. The collection of paint pot samples in the store got me very excited, as did the whimsical names the colours had – I’ve often wondered how people come up with such seemingly random names as ‘dusted fondant’, ‘nordic spa’, ‘desert wind’, ‘wellbeing’ and ‘sweet dreams’. I’ve always been interested in the relationship between colour and words and it’s something I’m interested to explore in future work.
Funny paint names from paintsewgluechew.com
This second week field project was an introduction to colour theory and the screen-printing process, and for myself an induction into the printmaking workshop.
We started with a colour mixing task. Each person in our group of six was given one of six primary colours in acrylic paint – phthalo blue or ultramarine, cadmium yellow or lemon yellow, cadmium red or magenta then we mixed the exact complimentary of this colour. So for lemon yellow which is towards the bluer end of the spectrum we would make a purple that was more red/pink. Next we mixed the complimentary colours together to get a third shade, and to get a black mixed all three primary colours into one.
Before beginning the screens needed to be cleaned with a water jet set on high and the aid of a cleaning agent. These were then left to dry by the radiator in the darkroom. Once dry a thin layer of emulsion was scraped up to form a rectangle in the centre of the screen using a trough and was left to dry for 45 minutes.
During this waiting time we cut shapes and patterns from black sheets of paper ready to expose the emulsion in the vacuum screen printing press. The cut out shapes were arranged on top of the glass box and the emulsion covered screen was put face-down on top, with a small tube placed inside to aid the vacuum. The screen is exposed to light for 2 minutes during which time the UV light burns away any unwanted emulsion to leave the stencilled shapes. Afterwards we used masking tape to tape around the edges of the screens, leaving a rectangle the size of the paper we were to print on in the middle.
Our acrylic colours were mixed with the same volume of printing medium and the screens attached to frames over vacuum printing beds. A taped down piece of acetate helped to gauge where to place the paper and then paint was pulled firmly through the screen using rubber squeegees held at an angle. Once we’d ran out of a colour the tape was removed and screen was washed again with the water jet (on a low setting to preserve the emulsion). We layered patterns from the two screens we’d exposed to create prints like the ones below on coloured paper…
The next step was to transform these 2D prints into 3D sculpture. We were shown a Powerpoint about how artists in the past have used colour theory and were particularly drawn to Victor Vasarely’s geometric op art forms. Our final piece is made of 8 separate components which can be seen below, together forming a space-ship shaped mobile. The placing of squares of colour on top of one another was inspired by German artist Josef Albers’s ‘Homage to the Square’ series.
The process of screen-printing feels quite laborious but once the emulsion has been exposed the screen can be re-used thousands of times. It’s also quite a fast printing process once you get going. I struggled with the technique of pulling down the paint and my first results were very uneven but I found moving to a lower table helped. There’s scope for me to experiment with screen printing slips or glazes onto acetate which can then be transferred onto rounded forms and clay vessels. Slabs could be printed onto in the same way we printed onto paper, then cut up and re-assembled. We used coloured paper and I could even add pigment to the clay itself in the same way to see if this changes the printed surface colours.
This morning I opened test kiln no 3 that I fired to 1060C on Friday. The cone (06) bent at 1063C so the monitor was an accurate reading of the kiln’s temperature this time. These test pieces are a series of LF bowls thrown off the hump and painted in coloured slips then coated in an EW transparent glaze to an Emmanuel Cooper recipe:
High alkaline frit 10
Standard borax frit 50
Ball clay 30
Cornish stone 10
After admiring the work of Chloe Peytermann and Ben Fiess I painted a series of gouache abstract patterns in a similar palette of pastel colours then tried making these colours in slip to apply to clay.
For the coloured slips I mixed Ball clay and China clay in equal parts then added 6% stain in primary colours: cobalt blue, red/orange and yellow. I’m disappointed with the results. 6% makes the colours soft but they’re no where close to the shades in the painting. The black slip (made with red clay recipe not stain) turned out brown and watered down while the pink is a sickly, fleshy colour although I can see it working nicely on sculptural forms. I feel a matte surface would complement the colours better – the shininess looks tacky.The colours didn’t mix as I expected either. The green turned out turquoise and the purple stayed pink.
The flatness and precision of this decorating style bothers me but then again I’m tempted to cheat and just paint gouache straight onto bisqued clay, sticking two fingers up at Christopher Dresser’s principle of ‘Truth to materials’ in order to get better vibrancy of colour. I like the illustrative qualities you can get by painting slips and they can look stunning like on the domestic ware of Isabel Merrick, but the results are boringly predicable.
The only surface I’m happy with is the turquoise with the eye pattern below. Paring down to three colours looks more sophisticated and these cool, calming tones remind me of the seaside.