Ceramics

Shellac

http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/etched-in-clay-how-to-make-beautiful-relief-surfaces-with-shellac-resist/

(a video on this: https://www.youtube.com/watch?v=SsUKbz0SdUE)

You can use shellac to get very fine lines of raised areas in your pottery. While wet or bone dry (both work- most of what I’ve seen suggests leather hard or harder is the best way to do it) you paint the areas of your design which you wish to remain raised in shellac on your piece. You let it dry, then using a wet sponge, wipe away uncovered clay. Some artists, like the one featured in Ceramics Arts Daily, will do multiple layers of the shellac to achieve a more textured look.

 

These are all the works of Ann Mallory, I found her work on Ceramic Arts Daily. She uses her vessels very intentionally as metaphors for psychological or emotional states. I am very interested in the fact that she creates series of pots rather than individual works, and uses both form and functionality (or lack thereof) to communicate. She wants her pieces to be used for contemplation, and to be placed in public or outdoor places. 

This is the work of William DePauw. He is a ceramics professor at Tulane University. He says that he is very interested in the relationships created by arrangements of physical objects and their visual and conceptual connections. Much of his work seems to be trompe l’oeil, and clearly represents things in the physical realm, but he juxtaposes them with more abstract forms so that the references and meaning seemingly behind the physical can be discerned. 

Karen La Monte works extensively on clothing and fabricates kimonos and other kinds of highly defined dress in other materials. Pictured here are bronze, ceramic and glass kimonos. Her work is interested in the both the differences and connection between the body and how we present ourselves. I love how beautiful, natural and defined these are. 

I found the work that a friend from my home church has been doing. For 1 year he is making one sculpture a week from clay and is recycling the same clay for that time. His full artist statement says 

The Condition of Qi

About

2 bodies of clay. reclaimed into 50 sculptures. for 1 year.
Qi-the breath of life.
Description
This art project is a year-long series of installations and sculptures using the same materials in a process of reclaiming and reforming. 

This project pursues the questions of how experiences are formed, remembered and influence others. Can ‘empty’ materials obtain experience? Meaning? Memory? 

Social media plays an important role in this process as the means of ‘memory’-similar to the way many people rely on such interaction to identify and present themselves. 

The ‘experiences’ will be formed and documented each week. Each expands on the idea of the human condition and ‘the force of life’, qi. 

These photos/videos will be published through the Instagram account:http://instagram.com/the_condition_of_qi
And a Facebook page: The Condition of Qi


Hopefully the resulting documents and a final sculpture will be presented in a gallery or related space as an installation available for contemplation as a whole.

This is the work of Lilly Zuckerman. She hand-builds and pinches almost all of her work. She creates some really beautiful forms and I can’t quite grasp if they are more functional or meant to be fine art. She says about her work and her process “A surface marked with fingerprints records the process of making, and embraces the constant tension on the form. This tension is simultaneously evident on the form, of the form, and from the form. Pinched clay is a remarkably clear and straightforward trace of touch, from maker to user my moment of touch can be experienced by others tomorrow or in thousands of years.” I think that this is a really beautiful philosophy and am excited to see what else she produces in the future. 

These are the works of Brandon Reese. He says that growing up he got to visit houses that his father was building and getting to see the structure of the unfinished homes were very foundational to him. His work often seems interested in structure and order, but without a sense of covering or solid masses. Most of his works are on a larger scale (a majority of those pictured are about 6ft or taller). 

Pekka Paikkari studied at  Arabia Ceramic Factory immediatly after graduating in 1983. He tries to make all of his pieces using as few tools and generally keeping things as simple as possible, which he said has made his work interesting, and that these restrictions push him to be inventive. He also says that he tries to find his own way of doing things and essentially tries not to get caught in “conventions”. A lot of his work looks very natural or almost like it is made of something else. I think the scale and the types of forms he is making are very interesting and I really enjoy them. 

Examples of screen printed works, artists named under works: 

Paul Andrew Wandless

Jason Bige Burnett

Meredith Host

Susan Kotulak

After our photo transfer last week Amanda mentioned that some people also screen print on clay, I don’t know much about screen printing, so I looked it up.

To make a screen print you first want to make the image black and white (since you can only do 1 color at a time) and try to simplify the image as much as possibly because screen printing on clay doesn’t always communicate small details well. After that you want to print your image on a transparency. Once you have a transparency of your image, you use that transparency to make a screen by placing the transparency over a light-sensitive screen, then curing the screen and washing it. (more details here: http://citybytheseaceramics.blogspot.com/2012/02/how-to-screen-print-on-clay.html)

Once you have your screen you can do one of 3 methods:

1. Foam - print your image onto a thick foam and then roll your ceramic piece over the foam, essentially using the foam as a stamp. http://ceramicartsdaily.org/clay-tools/decorating-tools/from-flat-to-round-screen-printing-glaze-patterns-onto-pottery/

2. Rub directly on - lay your screen directly onto your piece and pat/rub an underglaze thru the screen unto your piece. http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/screen-printing-and-stenciling-underglaze-designs-on-curvy-pots/

3. Newsprint- screen print onto newprint, then use colored slips to color in your design. http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/pottery-video-of-the-week-screen-printing-colored-slips-onto-newsprint-to-make-monoprints-on-pottery/  and  http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/slip-and-stick-how-to-use-stained-slips-and-newsprint-to-make-monoprints-on-pottery/