This collection of porcelain pots, titled “Porcelain Wall” by Edmund de Waal was created specifically for the museum. Although they appear to be similar they have been glazed using seventeen different recipes and each piece has indented marks left by the maker, which makes each piece individual and unique. The concept for the makers marks has come from a fascination with studio pottery and the marks each leaves on a piece. I think this works well as a concept, as it hints at the idea of mass production but is kept behind glass, never to be touched.
Paul Emmanuel’s “Fleece Paintings” are something I first encountered during his exhibition in 2011 at Oriel Myrddin in Carmarthen. The use of found objects, the fleece collected from the rural hills and farms of the Welsh landscape, in this way is individual to the artist. The styling of the fleece in a similar manner to human hair anthropomorphises the sheep fleece to give a captivating combination between man made materials and the natural environment that speaks of the Welsh landscapes struggle with the sprawling urban communities.
This is a part of a series of works called “Ice Tea Pots” by Rajesh Gogna. Created in sterling silver these vessels appear to be shapes hammered from sheet metal, yet they are functional objects. I find the choice of material interesting, as they are created in silver, which hints at an object to be admired and treasured as opposed to used. It has similar connotations to the works of Memphis, as it breaks the rules of a conventional tea pot. It also breaks the boundary between high art and low art due to the alluring silver and the opposition of the functional aspect of the artefact. I feel this has many links to my work as I have been working on a similar boundary with the bronze cast light box.
Medal development. I’ve been quite busy developing my medal ideas and aesthetics. I have successfully 3D printed a circular lithopane and taken a mould, which l have then cast porcelain. These are test pieces, so I can see how much they shrink in the kilns at different temperatures. Also, to test the opacity. From my adventures in porcelain last year I believe they will work. I hope.
The next step is to look at glazes and methods of getting the text, which translates to ‘presence is more than being’, on to the pieces. I think I want the text to obstruct the image, this can only be decided through experimentation though.
I’m hoping that glazing will happen this week.
Materials: paper, glue, balloon, porcelain slip, invisible thread, LED lights, wiring.
The instillation created reflects the “REGLOIT” design by IKEA, one of the biggest retailers in Cardiff. I have been inspired by our need to own “stuff,” this has lead me to explore ideas of consumerism and material values through their community of spending.
The way I have displayed my work echoes the organisation of IKEA, with minimal objects displayed and others waiting, in piles and rejected, waiting to be chosen.
The context of the work is to fit into the IKEA living space that is desirable in the home. It can also be taken out of its context and put into a gallery environment as a piece of fine art.
My first experiments in porcelain. These forms have been inspired by the Ikea paper light itself, I have dismantled one by taking out the coiled wooden support. It still has a spherical shape, but this can be manipulated to created more interesting deflated forms. I have recreated these forms using balloons, newspaper and tissue paper.
The porcelain slip is much thicker than the earthenware I have been using previously so I have only dipped the balloons once. They were also harder to coat as the porcelain retains a memory so wants to return to a lump like state. I have more to “dip” ready for firing next week.