Summer project exploring and finding different forms of collection.
Summer project exploring and finding different forms of collection.
Throwing on and off for about 2 years, I really want to extend and perfect my skills in throwing and turning vessels in this first year project.
These are my latest trials in throwing with a larger, 1kg ball of clay of White St Thomas.
By this point, I found centring and pulling up the walls relatively easy, as well as centring and turning leather hard vessels.
Being so scared turning my pots before and always thinking how impossibly hard it is; by now I must say I am looking forward to turn every single vessel I throw on the wheel.
However, there was significant collapsing and failing when adapting the shape of a larger cylinder, showing me that I need plenty more practice.
That was after setting a small challenge of producing number of identical cups
from 400g of Ash White. Drawing the design and then using a ruler to measure the width and hight while throwing, I managed to produce 9 reasonably same cups.
This exercise was great to limit myself into a one, slightly inward curved shape, and repeat it over and over; focusing my skill to develop in areas important when throwing: controlling the hight, width, thickness of the walls, curvature, etc.
However, I still feel that I don’t have full control in ensuring the shape and size is identical, therefore I shall repeat this challenge again to be more consistent in my work.
I also turned each cup to finally learn it, therefore the result was always slightly different, not really limiting myself but rather just play and get practice in the pure timing of the leather hard stage and centring and not cutting through the walls or bases.
Nevertheless, I wasn’t completely satisfied with the result; so I touched the extruder for the first time.
The result was even less satisfying, with the extruder disk providing too thick handles for my cups.
However, the immediacy and industrial, like a pipe or cable look was desirable, so I’ll have to look at producing my own extruder plates later.
Here are my earliest thrown object from 500g balls of Ash White and Terracotta at the beginning of this year. Always going for as thin and light walls as possible, but still rather modern, industrial and rather minimalistic look.
Using Rhino to 3D design and potentially 3D print bases for my thrown vessels.
As my exploration into my ideas for the project I want to look at new and emerging technologies and see how I could use them for my practice.
With our Techie Tuesdays lectures I had a good insight into this experimental field.
I decided to try and learn to use Rhinoceros 3D Software by making a relatively simple shape of circular bases with pillar forms, inspired by industrial structures, like cooling towers.
These object, potentially 3D printed, could carry my thrown vessels completing the look I’m exploring, as well as act like coasters.
Looking again, at Bechers’ photographs of industrial buildings and having few sketches and designs in my sketchbook, as well as measuring bases of my already thrown vessels, I decided to plunge into Rhino.
These are the first trials that came up from my play with Rhino; learning basic Rhino functions such as extrude, repeat, join, bend, etc.
I’m looking forward to produce more of them and 3D print them to see what adaptations they need.
I can vary the pillars/stilts in almost unlimited ways, as well as making the flat surface octagonal or a different shape.
It has been exactly 8 weeks from receiving our SUBJECT brief titled “There’s many a slip”, exploring the ceramic practice of creating vessels.
It’s few days to our group tutorial as well as close to the Formative Assessment, giving us an idea on what mark we stand on, judging on skills, context and ideas.
This will allow us to see and choose what direction we want the project to go in the Second Term.
I want this post to be my reflection on my ideas and exploration into a vessel, preparing me for the group tutorial to get most out of it.
The old English proverb that the brief is titled suggests that even if we know how something might turn up, and even if we are certain, something might still develop in an undesirable way.
It’s a great allegory to our first term of the degree where we are introduced to so many ideas and processes.
I managed to produced more waste (only recyclable of course) than functional objects; always pushing the clay when on the wheel to the point of collapse while developing my throwing skills, but at least I’m more confident at centering, pulling walls and creating shapes I desire.
As our first trip to the V&A Museum in London in the first, induction week revealed, there’s a huge number of ways to explore the subject of vessels; from just function or disfunction, to shape and size, colour and texture, narrative and impression or perhaps to nihilism and meaningfulness?
Besides, all the cultures developed an object to hold liquid, and to drink from for millennia. As the “1660 Tea Cup Connoisseur Set” exhibited as part of the V&A exhibition entitled “What is Luxury?” points out, is how the small differences in the shape of vessel can impact taste. Highlighting the lip of a cup and how it can enhance aroma, texture or taste.
I tried to look at what is pleasant for me too, when drinking from a vessel, and found out how a small milk jug with a pouring lip is my favourite object to drink a hot tea from (especially a three cinnamon tea).
I’m curious about playing with 3D software modelling and 3D printing, and incorporating this into my ceramic work, which than can speak of more contemporary ideas of practice and production.
An idea behind a body of work is important for me, as I want to explore or read concepts and arguments through an object.
Even an object gushing and bursting like vulcan full of magma can be considered a vessel; its own lava creating its walls, speaking of the formation process of clay and the Earth’s surface, as well as exciting and ever-changing human culture surrounding clay.
That’s why the objects created this 8 weeks want to speak about an impression: of a certain stability, like photographs of Bernd & Hilla Becher, of total steadiness and secureness, supported and weighted by their bases, fully functional with their angled lip and still they can develop in unpredicted way, like “many a slip…”
Like the documentary photography of Bechers, this is a snapshot of my progress throughout this first year of my degree.
Like the structures they photographed, strong and secure, but now all disassembled, demolished or not used; most of my work destroyed and reclaimed, my skills improved and changed.
Learning the technique of digital decal transfer, so we can apply designs onto a plain IKEA tableware, which could be then exhibited at their Cardiff store.
Finished application of my bacteria decals.
Beginning with an introduction into decals and on-glaze paints and their application, I started to think about what sort of designs I could apply on the already glazed tableware from IKEA, and any limitations awaiting.
Decals are a ceramic glaze printed on a decal (sticky) paper. It reacts with the already fired glaze underneath, at 850 °C, burning away the film that the glaze is printed on. Because of the extra layer that burns away, decal designs shouldn’t overlap as the top layer wouldn’t adhere to the surface.
Any white areas on the designs are printed as transparent, so any background colour would affect the final result. That’s why I chose just white ware for the simplicity, and one light colour, burned orange bowl, to see the effect anyway.
The shape of the wares need to be considered when wanting to apply larger designs, thinking about the curves and edges. A flat pattern of the ware would needed to be created; very time consuming and tricky process, for the rather short project.
This fact clashed with my initial idea of using images from the slide collection in our library and covering almost entire surface of the tableware.
I managed to find a few interesting slides of construction work or architectural drawings of buildings in Cardiff, visually close to Bechers’ images.
These images were useful to learn and experiment on while undergoing Adobe Photoshop induction.
2 of my attempts at playing with Photoshop. Looking at just the supporting structure elements which would look good as a pattern over the whole ware.
As a back up plan, I decided to use an image making technique I played with earlier.
Using slabs of clay as stamps with texture and pattern inscribed onto them and then painted with ordinary acrylic paint; that way I could create a smaller designs which could be scanned and then applied onto ceramic ware.
Because of the natural and fluid character of the technique, I went for a design of a different kind of an architecture; juxtaposed to the large nature of industrial functional building, to the micro functional structure of cells and bacteria. Inscribing into the slabs of clay feature such as ribosomes, circular DNA, cell walls or cytoplasm.
The prints were a success with its colourful looks in slightly off/burned hue which was caused by the tone of the clay, highlighting the universe of small parts/factories within the walls of bacteria or cells.
Happy with the designs, I have created the specific sheet in Photoshop that needs to be send to digitalceramics.com.
However, a problem with an extraordinary high cost and delivery charge occurred, for just one sheet of A3 decal paper.
We had to get organised as a group and split the delivery charge and the sheets to make the cost more bearable.
I ended up arranging different sizes of my scanned print designs to fit as many as possible on an A4 sheet of decal paper. I decided to add at least one image from the slide collection; planning to cut it up and use elements of it.
Prepared with the wares and my printed transfers I started to investigate how should I apply it best.
As the set looks better stacked up as a one bigger structure, rather than spread out on a table; I decided to apply one of the largest print so it would run across different pieces when stacked on each other.
The smaller elements were trickier to organise.
However, smearing some paint on my fingertips and handling a mug pretending to drink from it, I could see where are the points of contact with the body, giving chance for bacteria to travel from hand onto the mug or vice versa.
On to these places I would then apply my smallest transfers, highlighting the most contaminated places of the object.
With this placement I wanted to explore some ideas I’m investigating in the main body of my work: how an idea/impression of a structure/object has an impact after they disappear.
How the remaining debris can have an effect on future, or the present.
As for the image taken from the slide collection; I used an architectural drawing of proposed Cardiff Bay Opera House, due to it’s coffee like colour and almost abstract design. I cut the decal print into few basic components which I then applied on a cup and saucer. Looking more at the shapes and angles they create on the cup, enhancing the abstractness of the image as well as disunion between plans and reality.
There was a problem of creasing when trying to apply the decal through edges. I have carefully pressed it and created as little ridges as possible, but I’m intrigued how the overlapping folds will turn out after firing .
Initial processing of my dug clay from Fforest Fawr near Tongwynlais, and shaping it for experiments and analysis.
After drying up my clay at home and braking it into smaller pieces, I brought the dried clay to the studio where I covered it with water to soak and brake the dried pieces up again.
Leaving it for a few days to sit and braking it up a bit more with hands I noticed how my substance is more like a sandy mud, than a clay.
I decided to screen it first through 30 mesh sieve to remove any larger sand, rocks and organic debris more easily, and then again through finer 40 mesh sieve.
The process was very strenuous and incredibly smelly, the clay substance releasing powerful sewage odours, giving me more proof that what I have is a highly organic and sulphury substance with little clay in it.
When I removed all larger sand and organic debris with the sieves, I poured the wet mud onto a plaster bat to soak up excess water, and tried to wedge it into a one ball.
The substance felt rather sandy and as sand is a non-plastic part of a clay, I knew that my clay would be very short and lack plasticity.
This would make it difficult to shape my clay into tiles for further testing, therefore I decided to integrate some clay available in university to make it more plastic and malleable and see how the two clays would react.
There could be another option on how to separate and retreat the clay from my dug substance, using levigation. However, that was the more time consuming process and I already felt slightly behind with the task.
I decided to introduce the same amount of porcelain as my dug clay; choosing porcelain for it’s plasticity and whiteness; so that any colouring from my raw clay would be more noticeable.
Wedging the two clays together, the mixture was still too short for my likings, so I added a bit more porcelain.
Totally my clay mixture consists of 1296 grams of my raw dug clay and the same amount 1296 grams of porcelain with extra 300 grams, as the mixture was still too short. That is 44.81% of clay sourced in Fforest Fawr and 55.19% university’s porcelain.
I ended up with a more plastic and malleable clay, but also more porcelain than my dug clay.
I managed to shape the original raw clay at least into a ball of 100 grams, to test the water content in the dug substance.
The clay mixture was also shaped into a 100grams ball to see the weight difference compared to the pure raw clay, bone dry and then bisque fired; suggesting the amount of water as well as chemically bonded water in the clays.
The test tiles from my porcelain and raw clay mix will be fired to different temperatures raging from just bone dry, biscuit fired to 1280°C reduction.
This will demonstrate changes across the different temperatures as well as the shrinkage rate, when measuring the 10cm long line marked on the tiles.
After drying for few weeks and then weighting the 100 grams balls again, the difference in water content was 33.3 grams for raw clay and 26.1 grams for clay mixture with porcelain.
An ambitious cast of a complete Victorian house in east London; doomed to be demolished, as all the other terraced dwellings.
Showing absence through presence of emptiness.
Creating a public sculpture with private/domestic space.
The road has been destroyed in the second Wold War bombing.
By the early 1990’s the terrace was almost completely demolished, giving space to new tower blocks, new housing and housing preferences, new progress and change.
The last houses were tear down in 1993, with the last one used to create the sculpture, just to be demolished too, shortly after the artist received the Turner Prize for the monument.
The appropriation of absence, how no-more existing objects and their history around and after their life-time can have influence today; how they can represent and reflect on ongoing changes in our society, are pretty captivating.
My project wants to explore ideas of stability and presence, through history of changing industry in Europe, but also like Rachel’s work, through absence and ephemerality.