In our last session at the museum we were on our own to search for a definition for the 1st dimension, backing up with found text.
A pin, defining an insect a specimen.
A single grain in an oyster creating precious pearl
The initial form, ideal. What something should look like.
Thinking about 1D and the First Dimension in some context of transparency was challenging.
Walking around the natural history part of the Museum, and finding a transparent wall full of pinned insect, the pin and pinning itself seemed literal 1D to me.
Looking at the phenomenal level, pinpointing and displaying a specimen, a perfect representation of a living creature in the outside world, was very peculiar, but useful procedure.
Later on, I came across a video explaining Plato’s ideas behind forms.
It explained how important it is to pinpoint and imagine ideals, such as how would a perfect friendship, school or city look like.
The insect in the same way is presented like a form, a perfect representation of a certain species, family of an animal.
Progress of the 4 weeks, working on the Tea for Two project, illustrated through photographs.
Stitching number of pieces of fabric to create moulds for the parts of tea set.
Filling the fabric moulds with plaster to create number of plaster prototypes.
These then can be used to create plaster moulds for casting with slip.
More plaster shapes and components.
Used fabric moulds dipped in black slip and fired. This method is actually much faster and simpler than making plaster moulds, with better, undisturbed detail. More experimental shapes are possible, just less functional.
Slip-casted and fired cups.
Fired slipware, some of them glazed, with oxide wash and transparent glaze, or other.
Reading an extract from the First Act of play ‘The Seagull’ (1895) by Russian dramatist Anton Checkov (1860-1904), and small extract from ‘The Notebooks of Leonardo da Vinci’ (1452-1519) and finding a definition for the Fourth Dimension at the National Museum Cardiff.
as the writing in Leonardo da Vinci’s notebook states how 2 dimensional shadows give form to the 3 dimensional objects, does 3D creating 4th dimension?
Darkness in a 3D space, building, creating emotions and responses.
As dark aspects of a character in a play.
Another observer – dystopian control from outside, above, audience, shadows. Cameras and internet traffic.
Control by the shadows/darkness, unseen.
Body by its chemical balance and subconscious mind. Irrational feelings.
Hidden failure from our view, perception and expectations.
Performing and mask, an extra identity. As well as 2D elements of a stage creates 3D scene of a false space.
The story of Icarus would perfectly illustrate the 4th point about failure, how it’s never noticed when we are so sure of success.
With his preparation, wings, ambition, confidence and brilliance.
Sure of his successful flight for the sun, he couldn’t see any failure in the task.
Our incomplete perception is judged, processed and shaped by us and our past experiences, so often resulting in our inability to see the darkness.
As in Checkov’s play the clear lake is obstructed by the stage in front of us. Everyone “interpret[s] the same idea [or image] by different means.”
In processes of ceramics, we try to control everything, with our extended perception with readers and controllers, be sure of success from our stand point; but the reality shifts into another position, giving possibility for failure to appear.
“There’s many a slip twixed cup and lip” – an old English proverb suggesting that even if we know how something might turn up, and even if we are certain, something might still develop in an undesirable way.