After visiting the Potteries museum in Stoke last week, visiting the V&A in London yesterday and looking at my own personal collection of ceramics, I’m beginning to see trends and patterns in the work I am drawn to and like to surround myself with. Much of my work in the first year was stuff I enjoyed making but didn’t necessarily like. By pinpointing styles and techniques I find attractive I hope to make work I can feel proud of and that speaks more clearly of me.
Inlaid Korean Punch’ong ware
Looking through my sketchbooks, notes and photos I’ve identified some key recurring themes and styles which I’m drawn to. Hopefully this can be a starting point for exploration when I return to university next month:
SKILL I have significantly developed my throwing skills and now feel much more confident on the wheel.
IDEA I enjoy the process but rather than seeing it as a means to an end, I see it as the start of a process of construction.
CONTEXT I feel inspired by the work of Gordon Baldwin I saw at COCA York as well as Carnia Ciscato at Collect ’17 who hand-build with thrown forms. Unlike slabs the clay holds some of the energy and motion of the wheel and has a springiness and tension to the touch. IDEA I’m interested in the idea of a piece showing traces of how it was made.
IDEA Idea of trace and memory was important in café society project. I wanted to create mugs for a café that would be a piece of home in Cardiff for when I felt homesick and missed the wild, rural landscape of North Wales. I hope to saggar fire them with combustibles from home so the surface holds a physical trace of the landscape. I focused on throwing a particular shape – a mug I remembered from home, but when I found a picture of it afterwards I realised my memory of the object was different to reality. How reliable are our memories?
IDEA This idea of the unreliability of our senses was further explored in Constellation – New materialisms. We drew an object from touch then from sight and it made me think about what I think I know as opposed to what I actually know. How does our memory influence how we interpret the present?
SKILL/CONTEXT I enjoyed the screenprinting field lab where we learnt about colour theory and played with the placing of colour. I’d already been interested in learning how to make coloured slips and thinking of the clay more as a canvas for painting on but the field project inspired me to work more in colour, especially for the pop art oil lamps.
SKILL Influenced by the paper stencils we used in the field screen printing I learnt how to use the laser cutter to cut my own paper stencils for the pop art project, with crisp sharp lines to suggest advertising graphics and mass production. Also with these oil lamps I began exploring the idea of building with thrown forms, and discovered the difficulty of controlled drying.
IDEA Realised with this technique that I was interested in the theme of balance. It’s something I have explored a bit in the past, exploring how the body balances on my foundation course. CONTEXT I came across Lisa Krigel’s stacking forms at Made in Roath and became interested in the compositions of balancing dirty dishes in the kitchen. CONTEXT My constellation essay examines the philosophy of balance in relation to eastern philosophy and the ceramics of Bernard leach, looking at balance creates harmony in art as well as everyday life
CONTEXT After coming back from France and playing games around the dinner table I wanted the centrepiece to be interactive or a kind of game. However, I was much more interested in taking a process driven rather than schematic approach, so worked through playing with the clay.
CONTEXT Wouter dam inspired forms.
SKILL Going back to the idea of trace, I like work that shows signs of how it has been fired as well and am drawn to more experimental firing techniques such as raku and the pit firings we did with Mick and over Easter. I like the firing being an experience in itself not just something that has to happen. Reading about mindfulness and Eastern Philosophy has made me not want to think of any part of my making process as a means to an end, but as an experience to be enjoyed of itself.
For some reason I find throwing and turning bowls more difficult than other forms. I can never seem to get the thick clay out of the base and they tend to end up with strange ridges. The pearlescent glaze here was supposed to be a gloss white but looks like it needed more than one layer.
Layered on top of another glaze the opalescent effect might work but I don’t like how watered down it looks revealing the clay underneath here.
The bowl with the oatmeal glaze is my favourite – it’s got rings of different shades of orange with a subtle texture and green tinging where it’s pooled at the base. I like the detail of the running green glaze around the rim too – a touch of Lucie Rie!
The green bowl has a pleasant mottled antique green colour – white slip with smooth satin opaque yellow green on top applied to bisque ware. I like the visible brush marks and the colour variation where the thickness is different.
Here we are, right at the end of the year, and I finally feel I’ve found a process which really excites me. Combining throwing and hand-building I get the benefit of enjoying two very different techniques – the throwing is cathartic, a quick way of making lots of forms that hold space, then the hand-building is like a giant jigsaw puzzle, intuitive, taking careful consideration of the balance and weight of the piece.
I want to see how far I can push this technique, how big I can build. The individual sections can be thrown fairly quickly, the slow process is the controlled drying and fitting together. Considering pieces were falling off even on this scale, it will be a challenge to create large scale work but I’m eager to try it. I might get hold of a heat gun to have more control over drying, secure joints with extra clay and use foam to prop up the structure as I’m working on it. The final centrepiece above feels organic, like a piece of driftwood or seaweed, but at the same time the even throwing lines and geometry of the form reference the industrial. I had some trouble with sections falling off before firing and during the raku as I tried to pull them out of the sawdust. Fortunately I could get them to stick back together with some epoxy. If building one large sculpture this way is too much trouble I can always fire lots of pieces separately then glue them together afterwards.
The glaze I made was intended to be blue, the same duck egg raku glaze I’ve used before (see recipe here) (with the omission of about 10% of the Tin oxide because it ran out). To get in the awkward nooks and crannies of the concave and convex forms I decided it would be easiest to use the spray gun. I’ll be using the spray booth a lot more often now I realise how easy it is.
I was surprised when the glaze came out of the sawdust a dark pink/purple but I expect it’s to do with ferric chloride left over in the kiln lining from previous firings. I’m pleased with the unexpected results – where the flame has licked the work it’s turned metallic silver and the surface has character and variation with patches of yellow, white, black and texture among the pink and purple. It reminds me a bit of an octopus or a squid reaching its suckers out to grasp its prey, or a homemade robot from Robot Wars. There’s something hostile and dangerous about it, perhaps because of the dark colour. The shadows created with the light from above in the photos give the sculpture a gravity defying look, as if parts are floating. Duncan suggested I should experiment with placing lights inside to see how different shadows can be cast.
This project has definitely been more process driven than idea orientated. Because of the raku there’s something dirty-looking, perhaps ugly about the piece. In the context of a centrepiece this links back to ideas I had at the beginning about dirty dishes. It’s not something that would put your mind at ease during a meal, for me it conjures up anger or a raging storm. I began by calling it a monster but maybe a storm would be more appropriate. It interests me that it looks very different depending on where you sit at the table. It’s dynamic, like the conversation at a good dinner table should be or it might also reference broken crockery. I’ve moved very far away from my original ideas of an interactive, functional object. I hope it would be an inspiring conversation starter.
I finally got around to glazing the pop art inspired oil lamps we made earlier on this year with Mick Morgan. The bisque fired vessels have been painted with this clear stoneware glaze from the Emmanuel Cooper glaze handbook:
High alkaline frit 10
Standard borax frit 50
Ball clay 30
Cornish stone 10
I was worried the stains in the coloured slips might burn out at 1280C but luckily they stayed bright. The blue is a lot darker than I expected but works as a dramatic contrast to the pastel colours and I like how the colours and pattern unite them as a set. Perhaps they would look better decorated with matt vitreous slips though, or with a variation of block colour and line drawings, a kind of collage of slips and decals. I preferred the matt surfaces of the bisque ware to the shininess they have now. My favourite view of them is the abstracted one from above – the circles of different colour create a fun composition.
I’ve been invited to sell my work in my local hometown and want the glazes to reflect the colours of the rural landscape of North Wales. These thrown vessels have been painted with the glazes I made at the start of the year as part of the local clay project. The bowl has been pained with a glaze made from a 2:3 ratio of Potash feldspar to my clay while the rounded pot has a 2:1 mixture of Whiting and my clay. It flows very much like an ash glaze but luckily wasn’t too runny that it stuck to the kiln shelf. I’m going to add more whiting and feldspar to these glazes because the colours are much darker than I expected.
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.