PDP Subject

The concepts and research that I undertook in my work went from mapping of journeys, liminality, movement and sculpture. My current work relates to colour and exploration of forms, natural formations that don’t look manmade, more like impossible objects. The materiality and structure of the work creates a sensorial colour theory. Through the presentation process my work starts to connect more to the architecture it’s in and the forms that could be futuristic/modern buildings.

From the very start of my subject research I had been interested in movement of objects – making a journey and allowing the work to take us on that journey. This was produced through GIF videos of the movement of my photography and the subtle changes of adding/subtracting work from the frame.

My research was synthesized into ideas by producing very simple forms I explored the shapes for my work through the use of the extruder – repeating these maquette shapes through hand-building them in big scale sculptures. My work and the presentation has always been a response to an environment from the end of level 5 up to where my work is now as an installation of colour theory, visual play and sensorial textures of ceramics. My work lies within a liminal space between nature and the industrial.

Through my making stage and the start of deciding on my presentation I started to explore artists who mainly worked on the floor, Barry Flanagan, Betty Woodman, Corrina Thornton Matt Wedel, and most importantly Anne Hardy – creating a surreal environment. The influence of spare materials that Flanagan, Thornton and Hardy used was very experimental in my work and I’ve moved away from it as I come to a professional finished body of work, using one block of colour to absorb and project the colour applied on my works.

Once I was indulged in my skills and making process of coiling my last three big scale works, I needed to find practical ways of working with the weight of the work for firings, deciding on the colour theory throughout my research for colours meanings and experiencing, influenced by the ‘colourscape lab’ with Eloise Govier and my own relationship to the visual effect of colour. The difficulty of high firing the works with such powdery fragile surfaces on such huge works was very difficult. With the generous help of Matt we lifted the work from different surfaces such as tables trolleys and kiln shelves successfully, otherwise I re-sprayed the work with a small spray gun whilst it was in the kiln. I didn’t know how I’d feel about the work or how it would be placed once it came out the other end, not until it was at a finish ready to go into the show.

My intention with the work is to create excitement, confusion, direction and movement to viewers, seeing a ‘fun’ scene of absurdity.

I hope to extend my research of colour in future projects, my exhibition of work has just opened the gateway for me to further my knowledge and challenge my understandings within and outside of the practice of ceramics, from starting the year with the study of signs and signifiers. I feel colour has always been an underlying topic that I intend to explore further, from shapes and forms to the application of visual harmony.

Colourscape lab- Eloise govier

Eloise Govier held a colourscape lab workshop in the Arnolfini Bristol. She is currently studying Sensory Anthropology and is a working artist with an interest in participatory arts. John Haywood, a lecturer at middlesex university, spoke to us about his years of research within colour.  Such as the iphone application Colour ground, it’s function is to document the colour palette of your surrounding environment such as pigments from buildings, picking up how we see colour within communities and a way to respond to urban environments. My own colour palette is below, one being in Cardiff Urban taphouse and the other my bedroom.

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Another project called Colouredge paint range representing the south Pennine Edge capturing the richly diverse and intense hues of both built and natural environments;the townscape, moorland and valleys.

The workshop followed up from my evening of colour research very well as a lot of studies and artists from the BBC programme we’re mentioned in the workshop such as Yves Klein. Within the group that were picked there was sculpture, print, textiles, painters, and anthropologists. Each of us had a very interesting perspective of how we see and think of colour.

We looked at companies colour palettes and the names they give particular colours due to what we may link that colour to, object/environment/thought. At what point do we feel we own a colour? Colours that could possibly be found within nature (as the primary influence). The most profound story was about communities that reacquaint themselves with their land by applying the earths mud to their skin to create a connection of protection rather than harm to nature.

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colourscape mine

The colour palettes Eloise asked us to fill out were as follows; colour of your favourite place, colour of you, colour of your favourite person, colour of the room, colour of Eloise

My way of picking the colours were purely visual, whereas others picked their colours by connecting their feelings of comfort with warm red or calm with green – connecting to nature. A way that I haven’t thought of colour by how I apply it to my degree show pieces. The workshop has had a positive impact on my way of thinking about colour – seen in my final centrepiece work with red body, purple outline and orange interior. These colours were picked through feelings of excitement and visual harmony in the balance between the overlapping colours seen in my photography blog post.

http://www.eloisegovier.com/new-events/colourscapingmethod

Colour is nature, art is nature and we take on the practice to understand our environment our reason for living our way of life as humans and the different activities we take part in for survival and to stretch our mental capacity

thumb_IMG_3805_1024thumb_IMG_3807_1024thumb_IMG_3808_1024thumb_IMG_3814_1024thumb_IMG_3820_1024thumb_IMG_0115_1024 thumb_IMG_0119_1024 surface of the trolley after the spray booth.

Colour Theory

Tomorrow is the day I start spraying colour onto my final big scale pieces and i’m in need to understand the colours I’m using a little bit more rather than depending on spontaneity and taste to create new work on top of another.

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I’m starting to consider the colour conversations that occur from current and post influences of mine. Things that are purely visually satisfying as well as mentally satisfying to what colours we connect to certain shapes or memories.

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I’m interested in the space in-between colours – the boundary of red and blue making purple – connections of how colours are originated in the first place. Placing colour on object in the same way colour places ‘things’. We live within a kaleidoscopic world of colour.

I chose not to feature any green apart from very light mint greens in my work as I feel that it is too relatable to nature – i’d rather my work be surreal than natural. By watching programmes about colour I picked up some interesting understandings – blue transports us to other places, something we desire. Same feeling we may get when we look up into the sky when it is a shade of blue.

Through my work I see a marriage of colour and form, this colour changes the perception of what something is. The colour blue is all around us in nature but out of touch, this blue captures our imaginations, desire for the new world beyond our own, blue holds strange and exotic realms. It’s as though new colours come out of the blue, new life of fresh luscious colours (my work?).

A very obvious artist to refer to is Yves Klein for his captivation with the sky – a way to escape from the world around him, a way to create a deep and liberating colour that becomes an infinity of a utopia.

To have a colour to escape to, becoming lost in the distance between ourselves and the colour.

Cardiff M.a.d.e Aiden Myers talk

Although Aiden’s talk was around his paintings I found the conversation interesting connecting to the way I think about form and sculpture.

Highlights of the talk were; Allowing the forms and the media to breath through its direction of movement within weight, mass, space and energy. There is embodiment through making and representation. The combination of colours create tension and physical elements through limitation something emerges, this decisive process you see a harmony of layers, difference between purpose and aesthetic, producing layers and textures that aren’t humanly controlled.

There is a power of risk, bravery and exposure of the maker in these impossible creations. You are submersed through scale, repositioning and precision. You lose yourself within the question of time, at what point does the work create it’s own identity as well as an extension of your own being.

14th-25th (two) Week Summary

Skills; waiting for hand built work to dry for first bisque, testing new vitreous slip with glaze binder mixed in to make surface dry and be more solid on clay body. firing work – trouble of weight and size in the kiln – trying to fit other work around.

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contacting pdr about making maquette boards for presentation (anne gibbs)

Creating more maquette work for New Designers to use alongside a portfolio of photography for my big scale work to show the process.

Context; carry on research of Barry Flanagan for the realms of sculpture, influences such as poems and other working artists.

Ideas; Trying to stay connected to what I’m trying to do with my work.

 

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7th-11th March week summary

Skills; Continuing my making,thumb_IMG_3657_1024 using my hand as a bashing tool to expand work out from the inside

thumb_IMG_3663_1024 thumb_IMG_3665_1024  Finished piece of folded extruded piece blown up

reforming the built forms very hard with the scale, thickness of clay and different consistency of moist clay with dried up clay. cracking, rebuilding re wetting etc, thumb_IMG_3680_1024

this porcelain piece is a blown up, mixed coloured (using up my old stained clays) version of one of my small pinched pieces;

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It’s interesting to see throughout all my photography of my work I am scaling the work up in the angles I see them from, now creating bigger versions of my maquettes I can have the scale available to me and concentrate more on the space, the connection and environment they are within.thumb_IMG_0032_1024 thumb_IMG_0033_1024

very beautiful colours and textures on the tools from the spray booth after spraying 3 maquette pieces.

thumb_IMG_0039_1024 thumb_IMG_0041_1024 testing out the body and foot together alongside my smaller starter piece, body is too wet, need it to get to the same consistency as the foot for the work to be stable together.

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Context; Hand building artists, Sara Moller works with sculpture and painting but is focused on chaos with a fusion of body and nature. Although she uses interesting mixes of materials within her ceramic hand built work. From what I can see in her photography of work she focuses on tensions and balance of sculptures, moving away from the plinth and finding a new environment for hand built work.

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Ideas; questioning the array of colours – colour scale in my work. .playful and random works by it self and creates strong relationships with coloured materials/fabrics

Artists

Corrina Thornton – installations, mixed materials

Very similar use of presentation – hopes for presentation, not creating perfect frameworks to then make invisible once main work is displayed – the framework is just as much the working piece as the ceramic piece of work is.

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Barry Flanagan

‘an intense search for a practice that answers the aporias and contradictions involved in making sculpture.’

Flanagan – ‘consistent attitudes, representing not the adoption of an artistic stance, but simply opening a new area of research, a material to be tested and a tradition to be investigated.’

work vs play, craft vs art, spirit vs matter

These works of art I’ve recently found from Flanagan below show a repeated action of folding fabrics – good platforms to hold ceramic work, reminder of comfort, rest, and a calm environment.

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Interesting shapes that are closed in through a circular framework, compact forms that could be spread out and create a new narrative.

Betty Woodman; a artist/sculptor/painter whos work is heavily focused on the domestic environment and surface painting. I saw her exhibition from a different angle of how she presented her work and what materials she was using as well as ceramic. Especially looking at the focus of fabric as the backdrop of even part of the work, wrapped around.  thumb_DSC_0025_1024   thumb_DSC_0039_1024 thumb_DSC_0042_1024 thumb_DSC_0051_1024 thumb_DSC_0052_1024 thumb_DSC_0056_1024  thumb_DSC_0061_1024 thumb_DSC_0065_1024 thumb_DSC_0066_1024 thumb_DSC_0067_1024 thumb_DSC_0070_1024