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Final display!

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Final display!

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Display ideas notes

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Final print, 4m long to be printed onto wallpaper liner. I chose different sizes throughout the print and it doesn’t have a cohesive pattern - it’s all fairly haphazard, mainly due to the fact that I didn’t enjoy looking at or assembling completely perfect patterns as it felt too limiting. 

My aim with the print is to lay it over the longer table in G.04 with the hope that either end will dangle and roll so it looks almost endless. I’ll then place the bowls onto the corresponding image that matches the size of the bowl on top of it, hopefully it’ll look at first glance as if there’s more bowls than physically on top of the print to create the illusion of multiplicity and repetition.

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Crop of final print for test printing on wallpaper liner

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Test prints to check opacity levels on wallpaper liner. I was already aware that printing onto liner would end up giving me a washed out finish but I wanted to see how the works would sit on top of the print if it were a bit more faded. I lowered the print opacity to 80% but found it was too washed out in the end so stuck with the original opacity. I love how the print has turned out!

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Images of final glazed bowls! Super happy with how most of them turned out, I think I definitely prefer the works that I created using my fingers. The grey underglaze came out way darker than I anticipated but I feel it works really well with the dotted bowls, maybe not so much dripped around the edges. Overall I’m really pleased and feel encouraged to try more within my practice in future.

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I didn’t manage to get a photo of the glazes I used for these bowls but I tried to stick to my original plans for colour combinations as best I could. I didn’t want to combine more than two colours on one bowl, and I kept the designs as minimal as I could. I started using two brushes but I soon found it was much more rewarding using my fingers dipped in underglaze to paint onto the bowls. This helped me get the shapes I’d already found appealing a lot easier than the brushes and hopefully once they’re fired that quality will be evident in the finish. I liked that using my hands was in keeping with the fact that throwing is an incredibly bodily process and I didn’t want that aspect to end after they came off the wheel.

Below are my notes for how I wanted to glaze these works. I’ll be interested to see how they come out once fired!

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10 bowls, all thrown on the wheel bisque fired. I tried my best to make them as uniform as possible but it was harder than I originally thought. As throwing is such a bodily thing I found myself getting quite tired!

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NATASHA DAINTRY

“My thrown forms are pared-down and minimal. Their potency comes from a tension of opposites. They defy gravity with their floating pale rims but are also steeped in a visceral materiality.  The glazes are fat. They overflow, and roll plumply around bases with an edible quality, like luminous lemon curd. I revel in the exhilarating risk of making technically demanding large forms to show off porcelain’s muscular power and simultaneous delicacy. The scattered cylinders are tiny but intense, like Persian miniature paintings.

Colour is pivotal. I try to harness the near physical power it has to immerse you, like being in water. I want to know if that luminous space inside a bowl, where the colour hovers, can increase in intensity. I combine the cool transparent qualities of old Chinese glazes with the hot raw brashness of modern industrial stain colorants. I pursue subtle translucencies as well as strange milky oranges or violent opaque yellows bordering on lime. Inspired by the ancient architecture of ziggurats I stack colour and rely on the way one colour reacts with another to create a kinetic vibrancy, like an electrical charge.”

http://www.caa.org.uk/exhibitions/archive/2007/hue-line-form-part-one/natasha-daintry/

Notes:

-Interesting use of colour; very varied shades but beautifully subdued tones that are calming to look at. 

-Repetition of form is central to her work, keeps in tune with her description of a ‘kinetic vibrancy’.

-Tall slim and flat wide forms that all manage to be fairly uniform show a celebration of craftsmanship and skill. Throwing consistent forms is very difficult.

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Ruby Pilven Ceramics I'm very keen to work with colour within my bowls, these small bowls were decorated using underglazes and finished with a gold lustre around the edges and to highlight the shapes.

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MEYER-LAVIGNE More imagery from their Instagram account. Really found myself drawn to the way the patterns on the ceramics seem to be made with fingers, or at least painted on the ceramics in a manner that references a very hands on style of working.

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Meyer Lavigne

The Danish design collaboration Meyer-Lavigne consists of Kristine Meyer and Sabine Lavigne who both graduated from The Royal Danish Academy of Fine Arts specialising in ceramics and glass. The duo works with a variety of materials, including ceramics, textiles, wood and print. Meyer-Lavigne design and produce their own line of porcelain. They create products for the home, they provide a service as interior designers and they write columns for home and lifestyle magazines worldwide. Meyer-Lavigne has a quirky, delicate, poetic and amusing style which often expresses a sense of humour. Jointly the different products create a wonderful universe of odd beings, friendly souls and fairytale images. Small snippets from a world we can discover and elaborate as we use the objects in our homes. Meyer-Lavigne is keen the make the process and the “sender” behind the product apparent: ”We believe it is important in today’s society to be surrounded by items that have been given time and consideration.” The materials used, the sensual and the “presence of hands” is always a high priority, just as the quirky and surprising elements that tickle our curiosity, inspire us to continue the delicate tale of Meyer-Lavigne.

http://www.meyerlavigne.dk/about/

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Emily Wright

- artist found via Instagram, from what I can understand she's currently studying. What I love so much about her work is the unapologetic looseness off it, it's relaxed and feels accessible. Her use of colour is quirky and feels really playful, which is an aspect I'd like to have in my own work.

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Lucie Rie

Lucie Rie was born Lucie Gomperz in Vienna in 1902. Between the ages of 20 and 26 she studied at the Vienna Kunstgewerbeschule (craft/technical school). On leaving the school she married Hans Rie - a marriage that lasted only fourteen years. Her success came early, and by the time she was thirty her work had been exhibited in France and Italy as well as her native Austria. Her work showed a strong feeling for form; like many other fine potters she was always aware that the nature of the pot was dictated by its purpose.

In 1938 she came to England to escape the Nazis. The following year she met Bernard Leach and was somewhat confused by his well-meaning criticism of her work. During the war years her sense of purpose seemed to wane, but it was fully restored in 1946 when the young Hans Coper (also a fugitive from the Nazi regime) came to work with her at her London studio. Coper's intended function was to cast decorative buttons for Rie to glaze, but she soon spotted his emerging genius which rekindled her own enthusiasm and confidence. Coper worked with her until 1958.

In 1948 Lucie started working in stoneware and porcelain rather than her customary earthenware. In the following years her work was exhibited very widely - in both solo exhibitions and doubling with Hans Coper. The pair benefited by promotion from Cyril Frankel, the ceramics expert and critic. Rie received many honours, becoming an OBE in 1968, a CBE in 1981 and a Dame in 1991.

She was much written about, and was the subject of a BBC film. Since her death in 1995 there has been no loss of interest in her work, and she is frequently the subject of prestigious exhibitions.

http://www.studiopottery.com/cgi-bin/mp.cgi?item=193

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Tried spontaneous drawing as a form of anxiety relief and although it was pleasing to see the results I didn’t find the actual process very soothing at all, my hand cramped up a lot and I found myself feeling frustrated, rushing to finish