My presentation for March Formative Assessment, highlighting key points of development from beginning of our main SUBJECT project – Connections and Object(ions), and reflection on the Ken Stradling Collection.
Returning from FIELD module, it shows the significant creative impact it had on my SUBJECT.
PDF file of March Assessment Presentation
Wednesday workshop was great opportunity to test the waters in a different medium.
Trying to explore ideas from Subject, but to make the process simpler I created more abstract, simpler growth objects.
We had to create our objects-to-cast in polystyrene, which has rather unpleasant quality when trying to achieve more smooth, clean surface. I tried to work with its qualities and let it melt, or show the individual bubbles for more visceral textures.
Roots, carrots, protrusions, limbs, fibres, pods, pips, are the natural features I was going for. I wanted to create them to see how they will work together with ceramics, part of an installation perhaps.
From creating the sand cast, it seemed like I’m digging out these buried fossils.
Opening the cast, the casted objects really looked like some natural root growth, connected in a network of aluminium channels.
Even the black burned sand trapped in the cavities I had to clean was like soil.
Coming from Field, I was reminded of how much I actually enjoy sculpture and the synthesis of ideas within three-dimensional installation.
I went ahead with building and sketching.
Experiences from both of my fields were inspirational to the extend that they changed my work in this year’s project completely. From direct, tight, designed and functional tableware to more broad look across the art fields (illustration, sculpture, graphic design, historical collections, etc.), and practical explorations of the ideas through more fun and experimental, sculptural exploration.
The colours and animistic features of the Penguin Donkey, my catalyst object from the Ken Stradling Collection, are still present, but now I’m more free to explore ideas around containment, storage and systems that classify and order the stuff and things that they embody.
Initial sketches, inspired by Angus Suttie’s colourful and imaginative ceramic alterations and surrealist’s game of ‘exquisite corpse’ of not really knowing what will happen next, a kind of system of order and dis-order.
- Mick Morgan showed us his quick technique of building large pots, which I adapted to create a larger cabinet, planning to play with texture, additions, colour, etc.
2. Smaller cabinet with legs.
3. 4. two cabinet like structures which were faster to create and explore notion of space and system repetition.
A quick side project to collaboratively build a bottle kiln.
It really extended our skills in extruding clay, with careful/tight approach at beginning, but by the end we pushed the use of extruded shapes to almost collapse of the last part, and embraced the aesthetics that extruder can provide.
Due to the tight deadline and acquiring of more knowledge as we went along, we ended up making many compromises and finished with very different form than our original design.
I didn’t feel as knowledgeable enough to contribute much in the planning and making processes, but I believe non of us was very experienced in extruding and building such a large structure.
However, as we always checked up with each other on what we are about to do, and collectively decided on any (and many) changes, the building process was swift and natural.
I think I rather avoided more responsible tasks of directly joining and building the kiln and rather helped on side tasks as preparing the clay, extruding, cutting, making individual ‘bricks’ or just cleaning.