Ceramics Photoshoot










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21.10.20 - ADDITIONAL RESEARCH - Modern Landscape

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The Russel Falls, Tasmania. James Haughton Forrest, 1924   This landscape was done using oil on canvas  in 1924, by James Haughton Forrest at the age of 99. Unlike older classical landscapes, this painting is about nature rather than societal status. The only evidence of human life is what appears to be a cabin in the distance that looks small and insignificant, especially against the crashing waterfall and whitewater rapids which are an immense force in nature - more than enough to sweep the building away. Even with this sublime element, the overall feel of the scene is tranquil and idyllic with the naturalistic imagery of lush forests, a mystical hazy sky and a rainbow at the bottom of the three tiered waterfall. The snow capped mountain in the background uses very soft brush strokes with purple hues. The depth of field that this creates may owe itself to the invention of photography which we explored a couple of weeks ago, and I think it is extremely effective and beautiful...
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CRITICAL STUDIES - artists who deal with the idea of Collecting

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Ilya Kabakov collects large numbers of everyday objects and reconfigures them in groups. The way they are classified by type makes it seem informative and purposeful like a factual museum collection, showing how the context of objects can elevate or make them special; if the objects were displayed in the artists home or a domestic space they may be perceived as nothing extraordinary. This shot of his works reminds me of a car-boot sale or second hand shop, I think it questions where we draw the line between trash and treasure, and the way we like to hoard things throughout our lives - an everyday object might have personal meaning or memories attached but from anyone else's perspective it's just a lifeless thing.  Mike Kelley, More Love Hours Than Can be Repaid This piece by Mike Kelley is a collaged blanket made up of hand knitted toys and objects gathered from charity shops; I find this piece really powerful because each thing was once handmade as a gift to a loved one and ha...
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Glazed Nerikomi Test Pieces

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  I used 'chun clear' stoneware glaze to try and bring out the colours of the dyed porcelain. You can see this worked really well on the far left circle but in the others, the glaze looks kind of cloudy. I did try and dip them really fast to stop the glaze being too thick and going like this but I guess it may be cloudy for some other reason like being full of small bubbles. I think they still look beautiful anyway and now I have a better idea of how to create interesting fluid patterns with porcelain/ slip. These smaller pieces also had the cloudy effect on a lot of them, but the colours still look really vivid. Here is a piece that I dipped part way in so I could compare how it looks with and without the glaze. I actually think I prefer the unglazed side because there's something more satisfying to me about the flatness, and the colours and swirly markings are uninterrupted by reflections.
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