In this space I will hopefully post regular updates on the development of my work process and findings to produce pieces for my MA in creative practice.
Experimenting with Clay Models 1
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Also, I feel that making some clay models before going concrete is a good idea.
So headed to the ceramics department yesterday and had the greatest afternoon,
All the hard work and planning came together in my, what I call, CALL + RESPONSE exibition. Here is a video tour and some photographs of the event. (please click on link or image) https://vimeo.com/595363643 My special thanks go to Leila Reeves who took the fabulous pics for me!
In a previous post I wrote about using fire in order incorporate empty space into my work. The empty space that encourages us to examine and find out what used to be there in the first place. I applied what I learned by using a blow torch on a concrete test piece as the equivalent to firing away combustable material in the ceramics kiln. https://sandraholleart.blogspot.com/2021/05/exploring-empty-space-using-papermache.html papermache forms in concrete, excess papermache burnt away Now out of the kiln: the "holey" equivalents in clay that served me well before thinking about the concrete approach: Combustable materials (chickpeas, paper, paper mache beads) pushed into the clay to burn away and leave the textured negative spaces After the first firing I accentuated the areas where material had burnt off with oxides such as copper carbonate and manganese which I would try as stains on concrete later examples of texture through burning away and staining with oxides - some of the...
Layering several concrete mixes can lead to a rather thick build up which might look in some cases very chunky and heavy. I want, however push my favourite materials. Hence I've been thinking about ways to give my concrete forms a more delicate flair. After all, I want to show fragility, inflammation, decline and unpredictability in my work. To visualise the vulnerability we can find ourselves in through an invisible illness, I would like to take my inclination to distress (tubular forms) in my work a step further now. I'd like to pierce the concrete or clay and, depending on perspective, take away or create empty space that becomes a form in itself. (Hepworth) This hopefully adds another dimension, creates interest or even tension that wants to be balanced out again. Under the light of the inherent concept of tension and release, balance and vertigo... I use fire in order to distress the surface until holes appear. To give the forms an inner structure and stability when attack...
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