These forms above where made by casting plaster (2:1 plaster to water ratio) into thrown vessels with the technique described here. Red and black iron oxide was used to dye the plaster and the yellow surface effect is the result of using yellow earthenware clay to cast into. I enjoy the surprise of finding the hidden inside form within the clay once the plaster has set, it’s always a mystery to what form it will take. These plaster casts are fragile, they feel like eggshells to hold. I prefer the more complex asymmetrical forms like the one at the top of this page – it looks alien. The smaller pieces that fell off look a lot like shells. The pink one is also interesting, the controlled, smooth inside of the thrown vessel becomes the outside and the inside is changed to the very gloopy looking texture of plaster halfway to drying. It looks like the inside is alive, spilling out onto the outside.
It would be possible to make moulds from these moulds and complete the circle with a slipcast ceramic object which had the original’s inside form on the outside. Simpler, symmetrical forms would probably be best to try out first though.
In my tutorial with David last week we discussed colour theory and the way putting colour on the back of flat planes can reflect the light in a halo of that colour around the edges. As an example he suggested I look at the first year fine art project displayed on the third floor – I hadn’t looked closely enough at these to notice the optical effect before but it makes the images pop. I glued some coloured paper to the back of my cardboard cutouts and the result above shows a very subtle halo of green and red light shining behind them. It reminds me of the hazy reflection of light you get on overcast days like the ones we had at Port Eynon. If I manage to make some of these in porcelain paper clay I could glaze the backs to get a similar effect.
After Laura’s plaster casting workshop I was keen to try printing onto plaster because I hadn’t tried it before and I saw the opportunity to make more slab-like forms which I could assemble as a kind of theatrical scenery. I rolled coils of clay and pressed these onto an inked up plate, creating walls around different sections. Next I poured in plaster to a thickness of about 1cm and reinforced the back with scrim. I mixed up two lots of 2 pints water/plaster so I didn’t have to do the whole plate at once. I should have been much neater with the clay by cutting walls from a slab because I would have had to file down the edges less this way. The resulting sections are a bit too thick – maybe I could have poured the plaster sooner. On the plus side, lots of detail came out from the intaglio plate.
I then set these upright in a bed if plaster (4 pints) which again, was poured a bit late so looks like icing slapped onto a cake with a palette knife. The scene looks a bit naff and reminds me more of a snowscene with ice and glaciers than a beach. I like the idea of placing a second inked up plate onto the drying plaster then hanging up the sections when they’re dry so the print is shown on both sides.
I also tried using coloured slips and sgarffito on slabs of clay. Inspired by Morgan’s Vicarious Wednesday talk I tried using paper resist stencils but discovered I have very little patience when it comes to decorating. Hopefully the slabs below will fire black and white.
I’ve also been working on making paperclay for the first time. Porcelain casting slip can’t be used for this purpose so instead I had to use porcelain from a bag. I dried out the clay then ground it to a powder in a pestle and mortar, added water, then let it slake down overnight. In the morning I poured off excess water and soaked the paper pulp (ratio of 1:3 to the clay) for 2 hours before sieving it (60 mesh) to get rid of excess water. I mixed the paper and slip together by hand but the consistency was very lumpy so Matt showed me how to use the glaze mixer which blends the paper pulp into a smooth consistency.
I made up an ink with black underglaze, a small amount of borax frit to make it less powdery (about 5% is ideal) and copperplate oil. The powders were sieved through 200 mesh then the oil was added gradually, applied to the plate and rubbed off with scrim the same as with the intaglio ink. This afternoon I built a wall around the plate and poured in the porcelain paperclay slip with the hope it will be dry by tomorrow with the ink printed on. The underglaze should stay on when fired but it will need a transparent glaze to seal it. I’m worried the clay might not dry in time for tomorrow’s assessment so I may try using a heatgun to speed up the process.
To keep away the Wednesday blues I decided to work from my recent train doodles, enlarging them and working into the drawings with pastels, oil pastels, gouache and marker pen. Perhaps the next step is, how do I transform these drawings into three dimensional objects?
I’ve been practicing throwing repeat forms that I can use as glaze tests. These are also to explore what I mentioned in the previous post about the material agency of clay and the way it responds to hand movements and the wheel. I’ve deliberately tried to throw them as thin as possible and keep turning to a minimum to retain the throwing lines because I like how raw and fluid they are. I feel turning a pot ‘to death’ loses that spontaneity and immediacy. These were intended to be Adam Buick-like moon jars but look more like little beehives. Hopefully the ridges on the surface will cause the glazes to pool and display their effects with different thicknesses of application.
Wandering along Pencarnan beach in sunny Pembrokeshire this afternoon I discovered these fascinating textures – limpets and barnacles cluster together in creases of rock like frightened sheep and pits and hollows like pockmarks carved into stone by the waves remind me of Wendy Lawrence’s expressive surfaces.
These organic forms have got me thinking of additives that will leave texture in clay – pressing seeds and pulses or nuts into the material that will burn out and leave hollows… I wish I’d brought some clay with me to press into these rocks.
Here I’ve tested to see what effects can be had when layering slips and glazes onto ash white stoneware.
White slip with turquoise glaze on top produces crazing in straight lines underneath a patchy shiny green.
Reversing the above with the white slip on top creates a dry, textured matte surface which doesn’t flake or peel.
My favourite – yellow/green glaze with blue slip painted on top forms islands of matte dark blue over a shiny surface with a very painterly effect. I like this rough, uneven texture which might look exciting on a large scale.
The same as 3 but with turquoise glaze on top – this looks like a painted landscape with lots of variations of blue and hundreds of tiny bubbles encased in the surface.
I expected the slips to run off the surface when fired but the addition of glaze works to stick the raw and bisque fired clays together.