Experimental piece

Looking at this piece and how I’ve tried to develop from this point, it has become clear that when I have tried to make the pieces larger in size I loose some of the key elements that I like so much in this piece. When I’ve made the pieces larger, the thickness of the piece also increases. The things I like so much about this piec are the thinness of the piece, it is almost as thin as cotton but also when it’s been fired to maximum temperature being this thin it almost becomes opaque.

The creases within the piece have also changed between this piece and my developments. The creases in this piece creates tighter bends which creates a juxtaposition of fragility from the thinness of the piece.

With my next lot of development pieces I want to create a feeling of a thinner fabric, with the edges of the piece being less perfect, as if the fabric has been torn away. I would also like the pieces to have more height meaning that the edges are likely to be tucked in and bent back on itself.

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Experimenting with exhibition formats

Porcelain is traditionally used to create kitchenware which was why I decided to place one of my sculptures on a plate stand. The over all effect of the piece on the stand is quite simplistic but is also has a domestic meaning which is what I was looking for.

I also hung the porcelain on the wall, the effect is also effective as it is simplistic, but it doesn’t have the same meaning as when it is on the stand. Another downside is that the piece could get lost on the wall if i chose to use the white glaze I have been experimenting with. It does however, allow the piece to speak for itself.

I have come to the conclusion that it would suit my work more if they were on the wall. I came to this conclusion as I wanted my work to speak for itself rather than the stand being a major contextual element taking away from my work.

The wall allows me to play with putting the pieces next to each other in ways putting them on a plinth or plate stand wouldn’t.

Degree show idea

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Rough plan of 5 pieces on the wall

Looking at a few degree show concepts. One being 5 porcelain pieces, either with a mix of 2 glazes and and an unglazed work or with one chosen glaze which I feel creates the impact I am after. Another being the 5 pieces made out of a mixture of porcelain and fabric pieces, the number of each would have to be played around with on the wall.

Different hanging techniques

These two artworks have used very different hanging techniques to display lots of little pieces.

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Flower, 2008, Valeria Nascimento, in production
  • Each vitrified piece of ceramic is stuck onto a nail using glue
  • Each nail is hammered into a piece of backing board which will then be hung on the wall. The nails are left out a little so the pieces seem to be floating from the wall.
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Flock, 2003, John Butler, Jonna Behrens, Anne Jamison, Debbie Metherell
  • Each piece has a hole in so a nail can hammer it into the wall.

Neither of the ways these artists hang their work is an option for me as I want them to sit flat against the wall and the nails to not be showing through the work.

Exhibition display exploration

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This book has a chapter on different hanging techniques for ceramic pieces. There was a number of techniques which need trying as well as different materials to use to hang the pieces.

The book suggested creating hooks which you can thread wire or picture framing thread through, backing the pieces onto boards which can be screwed into the walls and gluing materials onto the ceramic in order for them to become easier to hang.

As well as going through different hanging ideas, it also goes through the process of what other factors need to be taken into consideration, for example: the weight of the pieces, the size of the pieces, the strength of the materials used, the strength of the walls and how the weight of the works will be equalled out so they don’t break.

Glaze Testers

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Clear glaze tester
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White glaze tester
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Fired without a glaze

Three of the most successful testers. Once the porcelain was fired to 1280, the colour and texture of the pieces changed. The porcelain changed to an off white/cream colour and had a bone like texture which has an opaque like quality to it.

Once it had a clear glaze added the porcelain looked wet but also looked silky smooth.

The white glaze, similarly to the clear glaze, created a wet looking piece. The piece still looked silky but the colour made it look pure. White being a colour which symbolises purity.

Judy Chicago

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Dinner Party 1974-79

Triangle representing equality. Each place setting commemorates an important women in history.

Each place setting consists of embroidered runners, gold chalices and utensils and china-painted porcelain plates. The porcelain plates have raised central motifs that are based on vulva and butterfly forms. Each place setting is individual to the person it is representing.

  • It questions sexual norms of the time, also questioning women’s rights to their own sexuality.
  • Makes you see the Vagina as a symbol of strength rather than weakness, Chicago has made it viewable, you cant ignore it.
  • There is individuality about these place settings, you don’t have to conform to what is ‘normal’
  • Butterfly like vaginal forms ready to spread their wings but contained within the domesticity of the table setting. Shows how restricted women were. They start with flat painted plates and end up with forms trying to protrude from the setting completely.
  • Celebrating what other feminists have done, but weren’t recognised for, Chicago is recognising their work in order to create new work and not recreate what already exists.