This last term I have worked heavily on each phase of designing
surface coating or glazing
I have taken my time to give a clear and concise outcome with informed decisions.
In the making phase I dedicated all my time and effort towards taking heed of Duncan and Keith’s words when being shown new and unusual forms but also how they were attained such as Duncan’s seminar on design when he explained about how waves could be adopted as successful forms. Keith showed me a cast of a propeller blade and how it could be manipulated into ceramic with the spiral motion churning water. This is why I have taken my time, like with my coffee bomb forms, design can be rushed and made quickly but concepts and ideas must be thought through thoroughly. I began work on my volcanic forms after studying many artists such as Kay Lynn sattler’s work especially her piece entitled ‘Strata’ which gave me great ideas when looking at surface work and the cerated kidney texture I implemented in the early stages of my work. The quality and dexterity of her work spoke out to me, there was ingenuity and more so to say that her work really embodied that of the earth. A living being and not just mud.
I went on to really seize my chosen form of a neck if you’d like after making various different shapes both height and width for my large terracotta pot. They were very similar to that of a chimney and also again the summit of a volcano, as there was a recent disaster in the news of a volcanic eruption and I can see many chimney stacks from my window I could not help but be inspired and reminded daily to create. In the end I really became so involved that all I was doing was making the same shape over and over in different sizes and clays simply due to how perfect it is to me. I watched documentary after documentary on Yellow stone park holding the largest volcano in the world, Hawaii having countless mini volcanoes erupting daily and eyjaffjøllajøkul in Iceland erruptic and wreaking havoc all over the European world disrupting its air space with a colossal pyroclastic smog being blown about. This also gave me the idea for my organic cloud forms sweeping across the sky. As if a stopper for the necks, containing the pyro clastic flow.
I feel in the end discovering the most about myself was that I aka perfectionist and also an adventurer, I love to try again and again and make until I am fully satisfied. I must have as much investigative work to substantiate my creations as I can.
I chose the Iron as my main catalyst using it in various different methods from simply adding water to it, staining terracotta, grogging it in and in glazes along with the accompaniment of being layered upon terracotta clay creating a shimmering burnt shiny green with red veins. There was such an array that I was spoilt for choice between all the greens, blacks, reds and browns. Along with Glut Hellrot by Terra color which is a medium fire glaze for stoneware that I learnt through many tests was very adaptable. As I fired it at 850 degrees 1000, 1050, 1100, 1150, 1200, 1260 and 1280 with all having beautiful outcomes, I was over the moon. It also gave a beautifully metallic burnt metal effect with red patches amongst it. Lighting up my array.
My last experimental work rested upon my exploration through crater glazes and trialling different layers, ingredients, nephaline syenite. I was forced to trial cobalt and iron for black as the stains had run out and I had a pleasurable surprise with it giving off greys to black. I then trialled different amounts of grey and black stain with different amounts of zinc oxide and nephaline syenite giving a thicker or thinner surface texture and more evenly spread craters to the previously rare and irregular few and far between craters bubbling.
I feel extremely happy with where my journey has taken me and how much my work has evolved, I think the forms are delicate and yet solid, clearly, concisely defined. It is evident from my previous blog entries that my creations set out to tell a story or paint a picture of the processs of volcanic eruption. Keeping it playful and delicate However still giving a sense and structured take with various sets of work being combined effectively and successfully.
Had I the chance to do anything more or differently, I would only do one thing differently and that would be to evolve my work more. To have a consistent more identical body of work that combines all of my elements over fewer pieces, to refine the collection more although I would not change anything about the current series of work I have presented. It would have to be one set or the other. Large pots or lots of small groups.