I placed the top on my other piece yesterday and was able to attach the handle from the underside today. I was about ready to flip my piece onto foam and work the other side. However, LHUCA was very crowded tonight and there were small children nearby where I was working. I think tonight was the last class for the night class that meets on Tuesdays, Thursdays. I chose not to flip my piece until there aren't children present and I have plenty of room to work without possibility of incident. I have my next form and slabs complete, just need to wait now until Saturday for assembly (LHUCA is closed tomorrow in preparation for 1st Friday Art Trail tomorrow).
I have posted several progress pics and still working on cleaning edges, smoothing the undulations and reshaping forms slightly. While I was working on the ribs for the interior, the top shrunk slightly (even though I kept the form wet with paper towels for evaporation). So, when it came time to attach the top, I had to roll coils to fuse the forms together to accommodate for the shrinkage. Pics show progress of joining forms. I will cut and attach my top forms differently from now on as I learned from this one. I spent far more time on undulating the ribs in the regions I wanted, thus the top began to dry slightly.
I was able to visit with James Watkins the other day about incorporating my wheel-thrown forms into my sculptures. He recommended that I do preliminary drawings to express connections of the 2 forms together. I will do so ASAP.
I intend to do several of my pieces via Alternative Firings (Aluminum Foil Saggar), but I'd also like to experiment with other controlled glazes. The last 2 pics posted are of a piece (wings) that a woman architecture student did for James Watkins' class this semester. It was done Raku w/Blue Hawaiian glaze. I will experiment with this process as I like how the blues, greens, charcoal (from carbon) and copper colors fuse together unexpectedly. I particularly like the copper fused with the blues and carbon areas mixed throughout the piece.
Rick, looking good. I love the colors on the piece from the student in James class. Would love to see that on your pieces.
ReplyDeleteA few thoughts about the forms.
1. Have you considered adding different layers or levels to the piece? I love your architectual influence in the form, and I can't but think what it might look like with a 2nd or 3rd floor so to speak.
2. Are you intending these to have implied function with the handles? If so it might be interesting to shoot some photos of them in use. They have lots of compartments almost like a tackle box or a tool box. It might be cool to fill the little compartments with things. You could even display them filled with odd bits, found objects, or even tools or items that you create in clay. Little hand build lures, tokens, totems, and so on.
3. Are you happy with the scale? I think these might look nice 2x or 3x larger if they remain focused on form instead of function.
It has been great seeing your work and reading your posts this semester. When it comes time to fire give me a call. I'd love to help, catch up, and have a few shiners :)
Daniel,
DeleteThank You so much for your thoughts. About your questions, here are my thoughts.
1. Yes, on my 2nd and 3rd pieces, I intend to have not only undulating surfaces on one side, but forms and shapes on the other that are clearly delineated to express the push/pull of forces within. Half-circle shapes, oval spoon shapes, soup ladle shapes and possibly square shapes, are forms I'm considering presently. My latest piece will have 3 surface levels..the lower left heart shape will be highest (kind of puffed out), the middle region (guitar shaped somewhat) will be 2nd highest and the gear form and handle the lowest level and mostly flat (no undulations).
2. The handles represent the idea of "show and go" which implies "take it with you" architectural form and function to the piece. My intention is that each piece is in flux and the only permanency in the piece is the portability that the handles afford. I'd like each handle to be designed specifically just for that piece, and no other. Read part 3 (I added today, Saturday) for more info.
I hadn't planned nor designed the pieces to be like tackle boxes with compartments, but rather a cluster of mysterious events happening on the inside (by musical influences) that are stretching, yearning to get out. I intend for the sculptures to be forms within themselves w/ musical influences. I do like the idea of incorporating tools (clay designed) or tool parts/fragments into the forms somehow. I can envision the strength of the forms as pieces to the whole that are greater than the sum of it's parts.
3. Scale..I thought I would keep my pieces at the scale I've designed because of handling pieces into/out of the kilns at LHUCA safely. My pedestals (10) will be 2' x2' x3' tall approx. and I thought my pieces would fit that scale. I completely agree that they would also be effective twice or 3x larger. I want to be sure that I can handle these pieces with accuracy and care while working with them into and out of the kilns by myself. I will probably have assistance at LHUCA, but I want to be prepared if not.
I will definitely contact you as soon as I'm ready for Bisque and Raku. Thank You for offering your assistance. You know how it goes..a second pair of hands or eyes can make huge differences for positive outcomes.
Shiners..Yes, after finished pieces have been removed from the kiln and cooled. That would be celebration time :~)
Very cool!
ReplyDeleteI am so glad you included your drawings
ReplyDeleteOh gosh Rick- those are gorgeous! I have always been a 2D artist so seeing this work is amazing and intimidating at the same time.
ReplyDeleteI love your processes! You are so thorough! Looking soo good! Can't wait to,see them finished!
ReplyDelete