2nd year show space 

At this point in the project after many failed attempts I have come up with a plan to connect all of the aspects for my make your mark and other projects 

I plan to show 

  • Several ceramic tiles with pewter inlays to show the experimentation and process of pouring pewter in to or onto a ceramic surface. Not all have them have worked but i want to show the progression of technique and knowledge through trial and error.
  • Two ceramic cups with carved lines. The negative space was meant to be filled with pewter but unfortunately within in the time frame i had i did not have time to tweak the process to allow pewter to i case the vessel. However it shows the process of my projects and i still like the look of them even though they dint work out as i planned. I will potentiall fill the space with resin after they have been glazed so they look finished. 
  • Two glazed ceramic vessels with bronze  or copper coated steel welding rods encasing the cupsto form a handle. This design is to incorporate both ceramic and metal mediums in a simplier way. Pouring a molten or liquid metal into a mould or round a surface has proved to be problematic which with more time next year i can explore further and have the time to do so. So taking a separate and solid metal and moulding it around the cup without the need to technical processes is a compromise on my concept of combining metal and ceramic 

Other projects

  • BAMS! My medal is the biggest achievement in a project i have made to date. Although it wasn’t right for BAMS and there were still some issues with it i am so proud to have made the medal and will certainly have it on show  within my space or as a collection with the other medals i am not sure.
  • Field – morroco wall hanging. I like the outcome of this project it represents my trip very well but i dont know whether it will fit worth the aesthetic of my Make your mark project and BAMS. 

With the Make your Mark project i plan to have two small shelves made of old dark wood. They will be in a horizontal line leaving space to the right for the tiles to be hung. I want the two lots of vessels to be sperate so show the separate ideas. 

Or 

Having a line of tiles, with a self and the craved vessels on a shelf beneath, follewed but the handled vessels and a shelf below that. This layout i think would clearly show the progresssion of this project whether the outcomes are what i planned or not. 

Or 

If i am unable to have wall space i will have a plinth, i would have the 4 vessels on top with the tiles hung on the sides of the plinth m,abuse a small shelf for the medal on the sides. 

Field review

Level 5 field proved to be more successful than first year, my first option was site, spaces and public spaces. The focus of the topic was to design and plan out our own piece of public art. The lectures and workshops taught us all about the process of applying, costing, designing, organising and all the details that you dont initially think about when starting off designing. It was extremely helpful. A highlight for me was the lecture by Emma  Price, who is the organiser of Cardiff’s event ‘ Arts Mundi’. IT is a festival/ event where exhibitions are shown and exhibited all around Cardiff involving many venues and artist. Emma Price explained the process of starting a festival like this how she picks artist for different briefs, and how to apply which was very helpful on understanding how to tackle and apply yourself in the working world. I also enjoyed the lecture with Craig from interior designs, where we debated about meanings of public work how it affects the people it encounters, and how

Other lectures by Andre Stitt, taught us about the performance side of public art, i found it very interesting but slightly awkward public art is not my style nor do i particularly enjoy watching it, most pieces make me a little uncomfortable. However i did enjoy learning about Andres previous works, including the workshop at his studio making an alley way interesting and meaning full from the rubbish left init. This  task helped push me out of my comfort zone, which is always a positive way to  help define who you want to be in your practice and the limits you are capable of . BY the end i was actually happy with what our group made and how they all bounced off and reflect each other additions to the space. Although i did enjoy the task i dont think i will explore performance further.I now can successfully say it is not my style, but i do appreciate performance and pieces that use the locally scourced materials in the space you are occupying like in the alley way.

Ive always been unsure on where my craft lies. i have swapped between public and gallery installation type work to studio based craft. Site,spaces and public spaces helped me to understand what it would take to specialise in the more public side of art. I’ve never thought about how many people could potentially be involved to ensure bigger pieces of work would be safe, manufacturer, needed and so on. Nor have i ever considered the costs and upkeep of such structures and pieces of work. After learning about the details of public work i would like to be more craft based selling from studio gallery or craft shops. Im still open to the idea of public work as i have taken on the Heath Hospital design project with Eleri, Tomasz and Rhys. Even though i dont plan on entering a career based on public art the knowledge i have learnt on planning, sourcing, safety measures and more will really aid me in my own practice of studio craft. The project really helped me to understand a project from a different persepective that isnt the making and its conctext. I feel that take more consideration on the planning and designing of the project instead of just the product, because of that the project had a positve effect on me and my practice.

During the second term i had the fantastic opportunity to travel to Marrakesh in Morocco and experience a more cultural brief. Wheres Site, Spaces and Public spaces taught me about life brief and how public art is different in both making, planning and affecting and area Morocco taught me about a different culture and society is a way that affects my outlook on areas of the world and how to interpret those themes and observations into my work. I have only ever been to places in Europe, so Marrakesh was a very different atmosphere for me.

I was really affected by the way the local interacted with us the tourists at the start of the week. i was initially a young female tourist that a fair few would try to hassle me. However after having the markings of Fatima painted on my face, nearly every person within sukh’s then greeted me as Fatima and was generally very respectful and polite. I found it amazing how a few dots and lines on my face completely changed my experience in Marrakesh and how those marking associated me with one of the most most respected and important figures in their religion. I decided to include these markings in to my designs for my tapestry. I symbolised iconic forms and colours seen in a lot of the decoration over these along side my markings of Fatima and the famous symbol of Fatima hand. As these were very involved in my personal experience of Morocco.

I don’t tend to explore much colour in my work so to go to a place where colour is a way of defining their culture, and is Incorporated in most areas of Morocco it was a little bit overwhelming but very beautiful. However as the week progressed The amount of familiar colour became a grey scale. It’s as if i became de-sensatisied to the abundance of colour that i didn’t notice it didn’t seem new and exciting. The houses are all the same peachy orange from the local clay, this became normal in this situation. I could still appreciate the colour surrounding me, and still consider the city to be a lot more vibrant and colourful than what i see here in the UK.

To summarise this year’s field options have positively aided in the expansion of my knowledge in regard to my practice and who i am as maker.  I have a firmer idea of where i want to be in the future, which is based on studio craft. Making sell able relatively affordable objects produced by hand on machinery in a studio, combining material bordering aesthetic and functionality. I have learnt about how to produce and actually set up, apply and maintain a project instead of just the making of an object. I have a greater understanding on the back ground knowledge of what it would take to have a successful business or career, whether that included specialising in small craft or public art. I appreciated gathering advice from artists and organisers who are or have been in the business of public art projects and learn how they have tackled ideas and projects, whats worked and the advice they suggested to us. It helped us prepare for certain scenarios like who to involve, what to expect. However this does not mean by any means there will not be learning on the job if i go in to this area of work. Site, spaces and public spaces gave a look in to a potential reality of what is to come after uni. I preferred the lectures to creating my own project as i did not enjoy my final out come, but to fully understand the information given to us a hypothetical project was a good thing to do. However analysing and experience a different culturing allowing me to experience work and a society that is completely different to what i am used to allowed me to step out of my comfort zone and appreciate a style or a way of life that i wouldn’t ordinary look into. Just because it doesn’t follow my taste does not mean it shouldn’t affect or influence my work. I have been part of options that have shown both sides of the scale very piratical borderline business to fine art / textiles based projects.

 

Make you Mark – Take Two

Over the Easter holiday i started to resent the current project of bronze table wear. After researching the writing about craft, it history, context and definitions, i consider my self part of the craft category of art verses a fine artist or a designer. The making of cutlery in my choice of bronze was too heavily product design based. Bronze would not have been a suitable materials for items used for consumption.

With this revelation that the project based on who i am as a maker did not reflect me and my practice i looked through my old photos to try and stir some inspiration up. I came across some shadow work from 1st year, i felt like i didn’t reach and explore the full potential of these photos and sculptures.

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These forms were inspired by Artist such as Cornelia Parker, Conrad Shawcross and Mia Pearlman, who all create large installation pieces although Parker and Shawcross have used Shadow work in their previous pieces Pearlman’s chosen medium is paper.

I am intrigued by the high contrast between shadow and light within these photos, i feel like they would translate in to other mediums such as the combination of ceramic and metal. The shadows have a lot of potential that i want to explore further but not in the form of an installation, i want to create a physical object that would be situated in either as gallery or a craft shop, fair. Although this project is based on our mark i want to test the concept of functionality in my work. Metal is my preferred material but can be hard to make it fully functional for consumption, how ever ceramic is the most associated medium for table wear.

i plan to create a slip cast of a vessel like a cup or mug and etch out the prominent lines from the primary research of the shadow photos. I then plan to pour pewter in to a mould containing the slip cast ceramic where in theory the pewter when heated and in a liquid form should flow in to the grooves etched out. This is a new concept to me and i have not seen this does not yet so there will be trial and error i suspect mainly with creating areas for air bubbles to escape when pouring the pewter. If this concept is successful this has the potential to move on to bronze and maybe even porcelain for 3rd year, but that is all if this process works.

Using the shapes and contrasting colours of the shadow work i plan to experiment with the balance of fragility of ceramics and the durability and beauty of metal in particular for this project pewter. The element of functionality provided by the food safe ceramic cup creates a concept that is functional but durable with the decoration and support from the pewter hugging the ceramic vessel. Pewter in this form is removed but its industrial metal conception and takes on the forms inspired by delicate jewellery rather than heavy industrial forms.

The exploration of opposing materials and how to combine them in a durable but aesthetically delicate form is quite the challenge as the materials require completely different process and techniques to produce both the ceramic and metal elements. i find metal very comfortable to work with and know the process quite well, ceramic is a difficult and unknown process to me and has made time management difficult, however i feel this idea can go far and is very interesting. it represent me as a maker. From the dual materials incorporating metal, in a craft form.

 

Mia Pearlman

Mia Pearlman is an American contemporary artist, who is know for making paper Installations.

She has recently undertaken projects using aluminium. although she still retains the beauty of swirls bends and twists of her paper work. However she does not give it a definitive theme or influence. She allows the visitor to interpret the sculpture how they like. They often compare it to the ocean or wind something ever-changing.

 

I discovered Mia pearlmans work in a book called installation art by Ginko Press. Where her work Gyre:

PhotoScan (31)

and Inrush:

PhotoScan (30)

beautiful cascaded down the page. This is the most fluid and beautiful sculpture i have ever seen. The complexity of each creates movement. Like a snapshot of something moving or living like a creature of the sea, or the ocean itself. Each installation is made up of many pieces and can be rearranged differently every time.It is a very diverse sculpture whos composition can fit any space.

Most of my experimentation has been free hand, unplanned and going with the flow of the metal or stitch. i wanted to try make shadow tests with more structure and complexity to them, so i made a mini paper version .

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I love the detail of this paper cylinder its so precise yt busy with swirls holes and cuts. Its like the wings a butterfly or a very elegant patterned cocoon.IMG_0583

As i am starting to focus more on the shadows produced in my work,so this technique is perfect. I am able to create a very detailed pattern that makes complex shadows. Every inch on the space would be covered in swirling crisp lines and curves.IMG_0586

With this design i followed the same style of shapes but used dis-solvable fabric . Its not a sturdy as the card making the lies softer in some places blurry. I find shadows are more impressive when sharp and crisp.
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Although the shadows are not as good as the card. In the light the stitching looks like a golden wed of criss-crossing stands. In the light you can see the different colour thread under the gold. I find this adds more to the piece because there’s more to look at and even trace with your finder.IMG_0588

I have re-visited the research and inspiration from Mia Pearlman as i plan to use the shadow designs in my Make your Mark project. The first paper design i feel will work very well has theres a similar ration of light and dark, with lines that are fairly larger. Wheres in the second design its is made up of many fine lines intertwining which will be harder for the pewter to travel through when on the ceramic vessel.

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Julian Stair Simone Ten Hompel

I am specifically looking in to the collaboration between Julian Stair, ans English potters, academic and writer with Simone Ten Hompel the German world renound metal smith, Their exhibition line being caller ‘Re-naturing’ the vessel.  Where they have taken domestic culinary objects such as the cup, saucer, spoon. They have beautifully integrated their apposing materials in a seamless way. Stair would with a variety of clay and ceramic forms from delicate porcelain to building standard red bricks.  Where Ten Hompel is a metal smith, who’s preference is silver but works with many metal forms. The collection consists of

  • Black marl clay with guilded metal
  • white porcelain with alabaster
  • Silver with red clay
  • Brass and other metals

The artefacts are grouped together in families of contrasting materials, to emphasise the up rooting of materials used and their relevance in domesticated objects. In the Oxford ceramics gallery Julian stair has written a section on how their similarity helped them creating and understanding in making for this project. He explains how both himself and Simone ten Hompel’s practice involved a shared philosophical position about the central value of material culture.   They wanted to create a strong cognitive understanding of art that should draw on haptical appreciation as as well as intellectual analysis, a critical phenomenal perspective.

I have referenced and taken inspiration from Julian stairs and Simone Ten Hompel’ s collaboration because they have found a way to combine what i consider apposing materials domestically functional ceramics with aesthetically beautiful and industrial metal. Although my ideas involved joining the two materials, which may or may not be possible. Re-naturing the vessel shows the beauty of contrast between ceramic and metal and how they can compliment each other whilst enhancing the ideals of the objects whilst adding a new aesthetic.

Level 5 PDP

For second year constellation i initially choose the option art, science and the construction of reality. I decided to try a lecture series that was more philosophical based as my first year was based on cognitive development and art movements such as post modernism. I find it difficult to understand philosophical problems especially the kind where the answers are neither wrong or right i prefer something with more of a solid answer based on facts and figures. My dislike for option lies in my capabilities for philosophy, not in the structure of lessons. I can not really comment on this because i only had one session on this topic.It really was not for. I was able to swap to another group where the topic was cognitive future. The sessions were grouped into five hour slots over 5 weeks, as i enjoyed the subject area i found that 5 hours worked well as it takes me a while to focus on tasks. The time allotted allowed me to learn and process more information  than i would in the 2 hour sessions. If i did not enjoy the subject i don’t think i would have coped in the long sessions.

 

The topics included

  1. The senses mistrusted
  2. Designing aesthetic worlds
  3. Designing futuring
  4. Critical design
  5. Dissertation proposal notes.

 

Although i was not there for the first session i appreciated the recap of practitioners from the previous year, as it helped to refresh some of the topics from first year but also set up the sessions to come after. I found i was able to see the physical design side of the subject and the cognitive, perception side.The topics were mainly based on skills and knowledge that can be applied to a physical object like the mass production of a washing machine and how it came to be a necessary part of home life instead of being a communal task. Key features that appeared in a few of the weeks were elements like sustainability, or how to communicate an idea or concept in a way that catches peoples for attention, (STI’s in toy form). The majority of the time i don’t like working in groups, but in this situation the group project were short and to the point including a small presentation that by the end didn’t feel that overwhelming.Although there was a certain aspect of philosophy i thought of it as more contextual, which as a maker suited my practice more so than the other options for level 5. In particular i found Wabi-Sabi to be the most interesting topic as i bound the concept behind it useful to my practising, i was very keen to learn about how different design can be in eastern cultures as there was a focus on the west as we are part of it. However i decided to write my formative about Wabi-Sabi because of how hauntingly beautiful i found the extracts from Leonard koren  Wabi-Sabi for Artists, Designers, Poets and Philosophers. I have since incorporated some of the elements of wabi sabi into my subject and field work. From the aesthetic qualities to the sustainability and acceptance of impurities the whole topic of Wabi-Sabi really inspired me. Stuart Walker’s research on critical design and the era of postmodernity was also a highlight of the sessions, i have used it to support my argument within my dissertation plan, the subject links to my practice and possibly the future of making and craft..

 

The second term of constellation was difficult for me as writing theories and concepts for a dissertation is difficult for me. Surprisingly i found that i had too many ideas to pinpoint a question or even a general direction for my thesis. I decided against an artefact because given the choice to make i would spend more time on the physical side of the project and not the context within the writing. After a lot of procrastination i found the i want to base my thesis on craft, it’s something i define my practice as i find it a very interesting subject. I found the proposal sheet with the questions on  helpful as it gave us questions and certain specifications to include in our writing. I found the tone of the proposal different to what i had previously written. I am used to creating a question, finding research and supporting my argument. However to me this proposal wasn’t as straight forward i found deffincerating between the back ground reading/review of key literature/ critical context to the research plan. I feel like they were all asking for the same information but in different ways. This was difficult to not repeat myself.  

The word count was very intimidating, and i found myself wishing the previous assessment had built up to a higher word count to prepare myself. However after finish the proposal i found it to be a good amount of words i was able to get my theories and concepts across with a certain amount of explanation. As i’m a doing a word count 4000 words is half of the minimum amount for the dissertation so it has prepared me in a way that i don’t feel as intimidated as i was before. The proposal has brought me a lot of clarity about my thesis which may change over summer but i feel as if i can actually tackle the project now. IM very glad that i was able to pick constellation choices in my first and second year that i enjoyed as they have all aided me in the writing on the dissertation proposal. More importantly my subject choice for the 10,000 words reflect who i am as a maker and the practice i want to to explore and work in after university.

 

Cornelia Parker

Cornelia Parker is a British artists who conveys strong and powerful messages through her work. She has been described as one of the most “inventive and quietly provocative artist of her generation”.

She was originally trained as a sculptor but uses a variety of mediums including

  • photography
  • performance
  • installation
  • sculpture  – to conevey her messages.

She is know to create probing questions of the nature of rules and the structures that governs us.

Her most influential piece to me is called “Cold dark matter” or the exploding shed. This was a collaboration with the police and military where they blew up a garden shed. It represent the violence that potentially happens with in domestic life. The shed was an ideal symbol for as its generally a universal baggage container.

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A shed holds all of the item and even memory’s that we forget about but dont want to get rid of, its part of peoples lives. Where the explosion is destruction violence that can corrupt a house hold. The sculpture captures a split second in time, where the end was unknown. Parker started the design process of the end piece as they were hanging completely working with what was left.

One of her running themes is using found objects. All of her work involves a story of some kind whether she is recovering a story from found objects or making new ones by colliding the items.

Cornelia Parker also explains things we dont understand with objects and things we know well. For example domestic violence with the cotencts of a shed.

Other themes are:

  • exploring both side of an object both shiny and tarnished.
  • mortality or the passing of time,
  • violence in a subtle way
  • something being easily read but posing a question

Parker is an influential artist for this new project due to her contextual and physical use of shadows within her works such as ‘Cold Dark Matter’. Her use of shadows in the physical sense is what attracted me to her work as i am using my own shadows inspired by her work to create the pewter lines in my ceramic vessels. i feel that her work is balance between the physical hanging objects and the shadows, without either one ‘Cold dark matter’ wouldn’t have the same context and effect it does with both elements. similarly in my work a pewter web or ceramic vessel would not be very impactful without the two mediums working together.