Large scale, monumental pots with expressive surface marks while looking at traditional techniques of Chinese Porcelain from Jingdezhen.
Felicity Aylieff set up her ceramic studio in Jingdezhen, China – the world’s capital of porcelain, and ceramics.
This gave her first hand access to the knowledge of traditional ceramic making, which she is trying to translate “radically different, contemporary, with a clear personal voice” into her own practice.
In ‘Mapping Memory’ series, Felicity Aylieff is commissioning the local craftsmen to throw monumental vases from porcelain for her, on which she can create free-form brush marks, expressive lines and grids.
The marks and movement are well rehearsed from previous tests and practice to acquire “confidence, familiarity and integrity of mark.”
To create the rich dark ink blue, as well as soft and translucent, she is using Ming Blue – a mix of cobalt and iron oxides, diluted for different tones of blue.
Visually, the surface marks resemble the skeletal parts of industrial cooling towers, chimneys or furnaces; just less structured, more expressive.
I tried my own version with inks, but trying for slightly more regular pattern of lines, resembling more structures on Bechers’ photographs.
However, I still tried to keep the free and expressive nature when using a brush.