Statements of Intentions

Subject

Coming from the innovative furniture piece of Penguin Donkey as my catalyst object from the Ken Stradling Collection, created for the revolutionary paperback Penguin books; I want to follow the trajectory of mass production of good design for good value, available to masses, with rich context provided through the ethos of Penguin books.
I want to learn and explore the  industrial processes involved in ceramic production such as technical drawing, prototype making, lathe and whirling, slip casting, CNC, etc. Looking at pure and simple functionalism, with elements drawn from the Penguin Donkey and classical Modernist designs, features including soft curves, long legs and layered plywood.

Exploring the colour scheme dominated by warm reds and mostly orange, I want to explore social ideals and directions, as another layer to the objects. With it the repetition, and presence of body within a space, and repetition relating to identity and individuality within, and its composition/curation.

I feel I want to explore these ideas through more experimental and sculptural work as well, to guide the functional design and possibly challenge preconceptions of functionalism and the processes used. This also extends the ideas and processes I’ve been through with my Public Art Field.
As my professional practice, I’m organising structural work experience, possibly in an area of selling ceramics and its industry, or teaching and providing workshops, or museums and curation as linked to our project brief.


Technical

For my technical I want to take the opportunity of exhibiting in the new Craft Gallery of Saint Fagans, and create an educational and innovative way of looking at colour through ceramics, in particularly through slips and stains.
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I would join the effort with Morgan Dowdall, so we could produce more spectacular collage presenting colours in slips, in as fun and engaging way possible.
For now we would divide the colour wheel into warm and cold halves, with me exploring the warm spectrum: from warm Greens to Yellow, Reds through warm Purples. screen-shot-2016-12-06-at-02-21-09

This will contribute to my Subject project further exploring slips, its colours and colour combinations through layering.


http://www.tigercolor.com/color-lab/color-theory/color-theory-intro.htm

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Plaster turning on the lathe

After initial induction into the technique and safety of the machinery used, this year; I could draw a detailed design and create a template, to produce an exact replica of my plans in as high detail and accuracy as my novice skills allow.


Relating to my themes of simplicity, aspiration, and mass production I chose to create a 20161130_202330simple design of a cup that I could practice translating in high accuracy into a plaster prototype, using a lather.
Reading “The Workshop Guide to Ceramics” by Duncan Hooson and Anthony Quinn to guide me, I created a technical drawing to help me record all the details I would need later when turning the plaster.

The simple shape was inspired by my catalyst object from Ken Stradling collection, or rather its first version, with the distinctive base curve with protruding legs, giving it its symbolic name “Donkey”.

I transferred the drawing onto a thick card to guide me in my progress while turning the plaster.
Due to the thickness of the card, I think I lose some details, so next time I’ll have to use thinner one.

To create the 4 separate legs I turned a distinctive foot for the cup, with intention to try to carve and dremle away the excess later.


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Using a multitude of tools and carving away very carefully and little, while often checking the progress with the template was it seemed the best approach to acquire a high accuracy.
The biggest struggle really was to imagine and see the different angles and try to recreate them in multitude of places at the same time so that the template could slide in a bit further each time.


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At the end I was rather happy with the result. The template was slightly off a millimetre or 2, but all the angles and curves were exactly how I wanted them to be.
Moreover, I really enjoyed this highly controlled and measured, then carefully detailed and intricate process to create something exactly as designed.
However, next time I could try more creative and spontaneous approaches?
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Jen Hawthorn – Making Sculpturaly, Building Large

This Wednesday it was the first lecture of the Vicarious Wednesday series, where students and practitioners share their techniques with others through life demonstration of their skills.


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Spending some time in Sweden in her second year of BA Ceramics, Jennifer learned a technique, an adapted coil building for a large structures.
The technique involves pressing a coil inside and stretch/massage the outer wall up and in, fusing with the inside coil. Going too thin and fast might be a problem, but essentially this technique allows building of a large sculptures and structures relatively fast.
When not smoothed, the coils make an interesting, layered pattern.
In her workshop stretched over several weeks in Sweden, they produced a very large artefacts in a gallery space, from unfired clay, just to be thrown down and recycled again. However, this process was rather enriching in learning and letting go of own creations.
Jennifer tried to create a large scale bowl with this techniques, but even with strong dedication, the walls kept falling. Creating special supports/scaffoldings with the clay and same techniques, gave the bowl original characteristics, but haven’t fixed the problem fully.
The final piece, alongside the supported bowl, was an abstract form, almost as a resting creature you can lean on and relax with.

It was great to see fellow students of BA Ceramics try and present their new skills in front of others. Getting practice at presenting, confidence, and inspiration for others, creating a great community feel within the studio.

http://www.jenniferhawthornceramics.wordpress.com