This week has been strong reference to skills after idea building and contextual work in research and development.
Skills: At the start of the week I worked in the dark room creating photograms. I really enjoyed this process and feel that it is a good basis to set my work in 2 D as well as my installation work in 3D. I started to play with time sequence of changing shapes positions and movement, reflecting gif animations I had made to document my work before. I then started to fit the different photos together to create their own map, new shapes and forms.
The transparency and balance in different parts of the photograms then led me to start to balance some porcelain slip test work that I will high fire to see how it folds on each other.
Through the influence of Ron Nagles glazes I made 3 different vitreous slips and used the spray booth – 20 layers on my extruded pieces, still didn’t get the texture I was hoping for – may need to leave to dry for longer, create more distance and to add more layers for continued work.
I aim to make frit bodys with stains and oxides to create really striking and vibrant colours that sit on top of the work in different places to each other – possibly creating different connections to each other depending on how people see over them.
We then had a group tutorial of glaze surfacing and firing. With my work, people picked up on the colour and vibrancy – with depth and layering. When does it become more content than covering, conceptual surfacing, this can change the meaning of the form and the position, dealing with a phenomena and physical dimension.
An interesting ideal of what comes first, the form or surface? what is of importance to you? At the start of this year is has always been the outline form, But experimenting with colours I feel will definitely change my perceptions. This is something me and Claire picked up on through glazing artists such as Kirsten Coelho and Matt Wedel. I want a vibrant shine glaze but I dislike the idea of using ready made glazes – i feel a loss of respect and a sense of laziness. Yet I would rather use high fired glazes, that may not give me the desire effect.
I love the desired effect of bleeding in Kirsten’s work that is through the control of the clay body, glaze surface and the firing. It has created its own form of life. I love to allow my work to control itself
Claire really picked up on the scale of wanting it to be bigger, Although in the time being i enjoy small objects that come to gather to make a big composition. creating its one big objects together. Especially after looking at Matt Wedels work.
The more I look at other peoples work with vibrant colours the more excitement I feel to start applying that to my own work. I want my glazes to create sexy ceramics. I want my glazes to create sexy ceramics.
My tutorial with Duncan brought out personal and cultural references of the coming together of my work and the breaking away again. We spoke over what work I would use for the formative. Looking at purposefulness and ambiguity.
Context: The connections to professional practice I have been making references to Ron Nagle, Kirsten Coehel and Matt Wedel.
Ideas: Have been in response to my photograms – leading to balance in the mapping