Summative Presentations


Professional practice (1)

Research and Development


Where I Imagine my work

Oliver Bonas

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John Lewis

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These Interior design shops, stock high end decorative work along side decorative home ware. Looking through the website the are many ceramic, metal and sculptural pieces. I could see my work in places like this as they can carry high prices and choose hand made objects over massed produced items.

Price list

This is an example of costing for my medium size

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Ive struggled to price my objects because of things like the molochite and binder, this is a set price for the materials, however, depending on the size of the sculpture depends on how much was used. To add to this i was not the only person to use this batch of molochite which makes it difficult to track how much was actually used.

AS a rough estimate ive cancelled down the amount of molochite and binder used or any other materials that have been shared across the work. I would like to look in to the figures further and try to calculate accurate weights and rates of use, but at the moment i stand at :

  • Small frame – £ 250
  • medium frame- £350
  • ceramic frame – £450
  • small long frame- £ 400
  • long frame – £500

small – hours 25 material £60

medium- hours 30 materials £67

ceramic – hours 45 materials £85

small long frame – hours 40 materials £77

long frame – hours 50 materials £100

Ive priced this at minimum wage for a 21 year old, although i would like to take some more time before the show to look further in to my pricing and materials.

Show plan

I knew from my structures that i did not want a wall, although my earlier pictures involved plinths near walls, i have decided to lay them out on a plinths or a table in the middle of the space. The forms can be viewed from any angles and also have very different visuals depending on where you stand there is no definitive front or back to them. I plan to have a set where someone can totally walk around them and see every angle not limiting the viewing of my collection.





I have decided to go with the table format because too many plinths would make the space over crowded, i also want them to be on a flat pain with small table plinths to add more depth to thew heights of the pieces. i want a sleep and contemporary layout, to not distract from the pieces


I decided to keep the bronze in a fairly natural bronze finish, when i think if bronze i think of warm gold, orange bronze slightly tarnished like many public sculptures. I wanted a material that set quickly but could be poured. I bought quick set concrete and was bale to pour it in to a condom and set on the frame. With this method it often forms the shape and build up a column but with concrete when it is partially set i was able to remove this and smooth out the shape with out damaging the organic form.


I had to experiment with the right consistency to pour the concrete, as more water was messier, easier to pour  but took longer to set. this meant i had to support the concrete in the form while it set, as it has a tendency to slip through the structure. Where as with less water it was harder to pour in to the condom but took less time to set. i decided to use more water IMG_8572

After the concrete had set the form actually looks more stone like than a concrete, which further emphasises the organic contrast within the whole form. The juxtaposition between the very natural forming of the concrete and the worked and manipulated bronze also plays into the dichotomy on the pieces.

22 (1)


I initially set out to have 3-5 inside pieces made of ceramic, after making the initial main piece i realised that how complex and difficult it would be to make 5 pieces and make sure they all fit due to shrinkage and glazing. I decided to keep my main piece as ceramic and make the other out of concrete or jesmonite, it would still involve the same process just without the slip casting and firing.

To create the ceramic i :

  1. Created a former, this was my wooden maquette
  2. filled a condom with plaster and set it on the same
  3. Gently removed the plaster from the frame
  4. Made a 5 part plaster mould from the inside shape
  5. used this mould to make slip casts,
  6. fettled the slip casts
  7. bisque fired them
  8. applied glaze
  9. re fired
  10. set in wax/bronze frame

This is the plaster mould after it had been used for a slip cast mould i ued this a a former to create the accompanying wax form after the original had broken. Although i used this to line up the cuts, i knew form a ceramic test that when fired to 1100 degrees Celsius the maximum the ceramic would be fire to it shrunk by 10%. SO although this was a guide i had made the wax to 10% smaller than the actual plaster form.

I originally was going to leave the ceramic a matt white or use a transparent glaze, but after making the decision to use concrete i wanted to carry on the tones of gray, making the ceramic similar to the concrete but different enough to show that it is a different material.

I started to look in to velvet under glaze. as they had a range from matt to satin depending on the firing temperature. they also come in a variety of colour with strong pigment.

i ordered a white, dark grey and dark green as this could compliment the gold tones of the bronze. I fired them to 1000 and decided that grey was the best option as it better reflected the colour schemes through the rest of the pieces.