Summary of week 30th-4th

Skills: Frit body making white st thomas powder form, 1280 firing for my vitreous slips,

Ideas:

DSC08564scrimshaw20whalers20image

Mal’s connection to scrim shaw sailors carving wale bone, from my porcelain pieces with cracks and black stain in the details.

The close ups in macro of small objects brings the scale of the work into more of a sculpture, think of the edges lines of focus. Photography – lighting, colours, low view – on same eye level higher connection to work- consider for presentation for viewers to feel more connected than down on the floor….

DSC08573

Context : Matt Wedel, his scale and concept of impossible objects – ceramics in scale. He has a curiosity of making this impossible object, with a material that is very fluid in speed of his ideas, no postponing, all ideas are in sync with how quickly he works, he engage’s with all the work in response to current work. He is constantly trying to figure out the object, with what it is and how to approach it with colour.

There are always points of tension and suspense in the process thats really phenomenal and an active way of working. “I just like walking through my works and walking around them and building inside of my works. That’s just so exciting to me.”

Then Matts (technician) suggested artist Nathan Prouty is a perfect example following from ron nagle for my desire of backward glazes with the process of bisquing the object, applying vitreous slip to 1280, frit body to 1200, vibrant pre bought earthernware glaze 1060 then lustre 700.

http://www.nathanprouty.com/

Dry-Run Formative Assessment

Dry Run

  • The feedback that I need to work on from now to the Formative Assessment Very rushed presentation, I have all the ingredients I just wasn’t clear enough in the clarity of information, What i’m doing in order to get to my aims- making more connections, create more of a cycle from one thing to another to sow obvious process of a journey.
  • Now mainly looking at the technicalities of glazing keeping ideas on hold until the glazes are applied to the objects.
  • Like I was saying before for Matt Wedel, I want points of focus, tensions in colours, signage that is orchestral with push and pull of danger and safety in colours, bright vibrancys – danger like wildlife of animals colours DSC08469
  • then pastel soft colours as safety IMG_3099
  • lots of different incidentals in a big space?
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