Acrylic pots

Texture of ball clay and China clay with black stain rubbed into the cracks.

  Then applied layers of acrylic

 Then sandpaper the surface to bring out more colours and texture for more erosion during firing


After a day of tour guide for the Fragile? exhibition at the National Museum Wales, I’ve made the connection between my work and Betty Woodmans “Diptych: The Balcony” as she uses Earthenware glazes, epoxy resin, lacquer and paint. Like I have done with the pots above, I have applied acrylic, rather than applying transparent glaze and firing them, I could add a layer of epoxy resin to keep the vibrant colours and visible layers.


As well as this Woodman works in three-dimensional form and two-dimensional painted surface, that is interwoven. Alike to my work in more recent posts. She has Vase forms painted on the cylindrical vessels that run into flat back sections and so appear both 2/3d at the same time.  Her work is unrestrained in scale, animated by the variety of texture and energised by vivid colour. The synergy between the two elements extends the physical presence of the work beyond the limits of the clay. The work is also conceptually complex, moving between concrete and abstract depictions of the vessel between the clay vessel as the functional object and as a field for 2-d representation.

Woodman has a specific interaction with space, an aesthetic of an exuberant expressive work.

Alessandros_Rooms_copy_620_241 balustrade_relief_vase_10-1_620_454 BETTYFREEMANS3-A_lr_620_413


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