Summer Project presentation and Manifesto

Presenting summer research, and Manifesto which should lead my work through the last year of BA.


 

We were fortunate enough to visit the Venice Biennale and see the art of the world. It was an exciting opportunity to learn and critically compare my own work. I could see many shared interest and I could position myself within the sculptural/installation type of work.
The French pavilion (by Xavier Veilhan) was fun, exploring the recording/artist studio and live architecture as a sculpture. Teamwork and desire for collaboration was one of the main pillars. This was highlighted by inviting over 100 different musicians to bring the pavilion to life using the instruments, some of them part of the building, which itself was inspired by additive and intuitive modes of construction.

The British Pavilion (by Phyllida Barlow) was my favourite with explosion of monumentally vast objects challenging preconceived ideas of sculpture. Domineering, bulging, they take over the space where the visitor has to pick their own way around and through a sculptural labyrinth.
However, the still have a distinctive human presence evident in their creation, with simple grey colour reminiscent of modern human built, offset with everyday bright colours.

Japanese Pavilion (by Takahiro Iwasaki) was great fusion of disorder that still embodies a sense of principle that is reminiscent in the nature, with his craft-like work that traverses the worlds of the micro and macro.

I shared the most ideas with the Danish Pavilion whose “Theatre of the Dark” was calling for the acceptance of impermanence, the unknown, and transformation as a natural part of growth, through light and spoken word performance in the dark.
The second part of the pavilion was a garden within a building with stripped down walls and windows with no limits between inside and outside, culture and nature, art and the world.


 

It brings me to the core of my art practice where everything exists so to interacts with everything.
We are born to interact with our mothers and the world around us, as the world will constantly interact with us, and with itself.

I’m especially interested in our interactions with nature, which evolved into elaborate experience of the garden, park or field where the nature is cultivated, grafted, curated and edited within a restricted space. Very similar to how our development and lives are guided by the space and society we live in.

I use additive and intuitive method of hand building, as if helping the clay to grow, leaving the marks of the interchange with clay visible, as tree rings are the evidence of environment interacting with the tree’s growth.
I want to develop a very physical and material language that doesn’t need to be translated, and explore ideas between this natural order and disorder, minuscule and monumental, within and through, systems and environments.

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Colour in Glazes Technically

Returning to Subject Module, I started to explore colour in glazes on my own, to help me develop specific colour pallet for my Subject work.


Orange being the most prevalent colour in Penguin Books designs, it provides a great depth of symbolism and context associated with the cultural impact Penguin Books had in UK and other English speaking countries. It brought inexpensive fiction and non-fiction to the mass market, educating, and having impact on public debate in Britain, through its books on British culture, politics, the arts, and science.
Therefore, I’m using orange as colour of possibility for social and personal growth.
I found number of good colour pallets around orange, but one with split complementary colours: blue and purple stood out visually, and belonging in the Penguin colour scheme with dark blue representing Biography and Purple representing Essays.

I started with a search for multiple recipes of the chosen colours in EW and SW, which would give me glaze bases and colours which I could then combine and refine.

I tested 4 SW recipes with one very successful Barium based glaze producing interesting dark blues with orangey halo on White Saint Tomas, and another glossy Soto Amber with interesting double colouration, but in green and browns.

Adapting the 2 base glazes, I stained them with commercial stains, which however burned out or in case of Lilac and Rosso Red Stains just reduced in vibrancy. 20170518_111126-COLLAGE

Therefore, I started experimenting with combinations of oxides to mixed into my leftover stained batches, referencing oxide combination sheet in our glaze room.

In the Barium based glaze I used:
Vanadium + Cobalt Carbonate + Titanium Dioxide produced matter, more even, lighter blue.
Manganese Carbonate produced very dark uneven purple.
Vanadium + Rutile didn’t show up and the glaze remained white.

20170518_110437-COLLAGEIn Soto Amber I used:
YIO + Rutile + Vanadium producing just light brown with streaks of blue.
Cobalt Carbonate + Manganese Carbonate + Rutile producing dark background with interesting blue streaks.
And RIO, browning the Rosso Red stain.


 

 

 

 

 

 

 

I had more luck in the EW glazes due to the simplicity of using commercial stains.

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Finding another 4 different glazes, mainly Lead based, but one with Wollastonite andIMG_7803-COLLAGE Strontium carbonate as fluxes which proved as most stable on different clays, pleasant surface and gloss, not settling down and good colour response.

I was able to use colorant combinations from the other glazes to adapt the non-toxic base glaze, and experiment with other combinations, to produce a range of oranges, yellows and dark blue purples.

If I had more time I would really go for a bit more scientific/controlled way of testing the additions to perfect the colours, rather than my very quick, mostly intuitive decision making.

The fact that I opted for spraying my final work, made the glaze much brighter, but at least I’m not having brush streaks or loosing any details in texture.

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The latest test piece glazed with my Penguin Purple, Penguin Yellow, Penguin White and Penguin Orange applied by spraying were acceptable. The one directional application even suggested sun exposure, as if sun rays sprayed the piece, giving direction to the growth.

 

 

 

 

 


NICHOLAS JOICEY; A Paperback Guide to Progress: Penguin Books 1935–c.1951. 20 Century Br Hist 1993; 4 (1): 25-56. doi: 10.1093/tcbh/4.1.25 [https://academic.oup.com/tcbh/article-abstract/4/1/25/1676590/A-Paperback-Guide-to-ProgressPenguin-Books-1935-c?redirectedFrom=PDF]

Aluminium Casting

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.

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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.