Tattoo Girl Design on arm sexy woman
Rats become Brats / Surface Development.
Surface development concepts.
Its time to develop appropriate surface options for the rats, derived from an investigation into possible titles for the works. I have cast and assembled a variety of animated options for the rats as reflected in the final image posted below. The installation and various groupings (pairs) are now possible, completely visualised and could be realised. However without an integrated, conceptually refined ceramic surface, the actual ceramic sculptures are incomplete. Hence the enclosed images of transfers, their intended symbolic meaning, including the religious and political extremists and fundamentalist symbols, necessary to give shape and meaning to the intended ceramic installation, to be titled, I never promised you a rose garden. For further insight into the concept behind the title - see caption below.
The title of the work has it's roots within the conflict experienced by the author, Joanne Greenberg, of the book with the above mentioned title. She was bullied as a child which shaped her worldview as recorded in her autobiography. The idea behind the installation and pairs of rats is to encapsulate the complex juxtaposed worldviews plaguing society today (incorporating religious conflict - French ban on religious symbols in schools). Fundamentalists and extremists with their hateful agendas are bulling their way forward; in direct response to the impact of globalisation.
Why transfers of roses you may ask? Their intended meaning {a bed of roses, The war of roses (movie title)} - they are highly complex symbols, ambivalent as both heavenly perfection and earthly passion, the flower is both time and eternity, life and death, fertility and virginity. A symbol of beauty, grace, happiness but also voluptuousness, the passions associated with wine, sensuality and seduction. The Rose garden is a paradise symbol - and is the place of mystic marriage, harmony, the union of opposites - beauty, perfection and chastity. The evanescence of the rose represents death, mortality and sorrow, its thorns signify pain, blood and martyrdom. Although colour plays an important part (symbolism captured in ballpoint pen in the above enclosed images), the emphasis was placed on the rose garden - a spectrum of colour; showcasing the beauty of society's diversity and hence the variety of rose transfers.
Religious and political symbols - for many they represent images of conflict (enforced morals) and oppression (bullies)
We all strive to live in peace and harmony, a open and free society, tolerant of each other views. However we live in a world plagued by hot wars with no front (Umberto Eco; Turning back the clock 2008) - the enemy lurking within (the enemy is amongst us) and around us. Hence the fact that the above showcased religious and political symbols (printed gold transfers) will be dispersed in a calculated and carefully designed fashion amongst the rose transfers on the body of the animated rats - turning them, on close observation, into fundamentalist and extremist brats (bullies); ready to spread their anger and frustration, reminiscent of the black plague.
Rats become Brats / Surface Development.
Surface development concepts.
Its time to develop appropriate surface options for the rats, derived from an investigation into possible titles for the works. I have cast and assembled a variety of animated options for the rats as reflected in the final image posted below. The installation and various groupings (pairs) are now possible, completely visualised and could be realised. However without an integrated, conceptually refined ceramic surface, the actual ceramic sculptures are incomplete. Hence the enclosed images of transfers, their intended symbolic meaning, including the religious and political extremists and fundamentalist symbols, necessary to give shape and meaning to the intended ceramic installation, to be titled, I never promised you a rose garden. For further insight into the concept behind the title - see caption below.
The title of the work has it's roots within the conflict experienced by the author, Joanne Greenberg, of the book with the above mentioned title. She was bullied as a child which shaped her worldview as recorded in her autobiography. The idea behind the installation and pairs of rats is to encapsulate the complex juxtaposed worldviews plaguing society today (incorporating religious conflict - French ban on religious symbols in schools). Fundamentalists and extremists with their hateful agendas are bulling their way forward; in direct response to the impact of globalisation.
Why transfers of roses you may ask? Their intended meaning {a bed of roses, The war of roses (movie title)} - they are highly complex symbols, ambivalent as both heavenly perfection and earthly passion, the flower is both time and eternity, life and death, fertility and virginity. A symbol of beauty, grace, happiness but also voluptuousness, the passions associated with wine, sensuality and seduction. The Rose garden is a paradise symbol - and is the place of mystic marriage, harmony, the union of opposites - beauty, perfection and chastity. The evanescence of the rose represents death, mortality and sorrow, its thorns signify pain, blood and martyrdom. Although colour plays an important part (symbolism captured in ballpoint pen in the above enclosed images), the emphasis was placed on the rose garden - a spectrum of colour; showcasing the beauty of society's diversity and hence the variety of rose transfers.
Religious and political symbols - for many they represent images of conflict (enforced morals) and oppression (bullies)
We all strive to live in peace and harmony, a open and free society, tolerant of each other views. However we live in a world plagued by hot wars with no front (Umberto Eco; Turning back the clock 2008) - the enemy lurking within (the enemy is amongst us) and around us. Hence the fact that the above showcased religious and political symbols (printed gold transfers) will be dispersed in a calculated and carefully designed fashion amongst the rose transfers on the body of the animated rats - turning them, on close observation, into fundamentalist and extremist brats (bullies); ready to spread their anger and frustration, reminiscent of the black plague.
Slip casting the Rats
Slip Casting. One assembled rat and another drying supported in the mould.
I have started slip casting the rats (to be assembled by hand to create variable stances - an animated approach) to develop appropriate surface options for the installations. I hope to do pairs and various groupings exploring different themes. The first set of pairs will be decorated with decals/transfers, and therefore will remain plain (no under glaze colours and or colour glazes will be used) only a transparent glaze - rendering the rats an off white colour (cream).
Pair of slip cast and assembled rats.
Slip casting the Rats
Slip Casting. One assembled rat and another drying supported in the mould.
I have started slip casting the rats (to be assembled by hand to create variable stances - an animated approach) to develop appropriate surface options for the installations. I hope to do pairs and various groupings exploring different themes. The first set of pairs will be decorated with decals/transfers, and therefore will remain plain (no under glaze colours and or colour glazes will be used) only a transparent glaze - rendering the rats an off white colour (cream).
Pair of slip cast and assembled rats.
Workshop @ Walford's Pottery Studio.
Studio of Andrew Walford; located at the Shongweni Hills, KwaZulu Natal, South Africa.
I presented a workshop to the members of Ceramics SA in the KwaZulu Natal Province this past weekend. The venue was the quintessential studio of one of South Africa's renown potters, Andrew Walford - he was recently featured as the Artist of the day, Wednesday April 15, on Carole Epp's blog, Musing about Mud. She mentioned the location of his homestead and studio in the rolling peace of the Shongweni Hills, halfway between Pietermaritzburg and Durban. I thought it necessary to share these images (taken with my cell phone) to showcase just how beautiful it really is. I always admire the lifestyles of potters when they get it right - manage to live off their work.
View east of Shongweni hills.
The workshop I presented was one of three conducted this year - focusing on the major factors impacting on the development of ceramics in the 21st century. I also showcased my ceramic works - from Concept to Product; emphasising the role of surface development as part of the conceptual development phase of my work. I did so in the context of contemporary developments in ceramic transfers and decals, with specific reference to the work of designers and ceramists featured in the fabulous new book fragiles, Porcelain, Glass and Ceramics edited by Robert Klanten, Sven Ehmann and Sabrina Grill.
The Walford homestead with some of their pets.
Workshop @ Walford's Pottery Studio.
Studio of Andrew Walford; located at the Shongweni Hills, KwaZulu Natal, South Africa.
I presented a workshop to the members of Ceramics SA in the KwaZulu Natal Province this past weekend. The venue was the quintessential studio of one of South Africa's renown potters, Andrew Walford - he was recently featured as the Artist of the day, Wednesday April 15, on Carole Epp's blog, Musing about Mud. She mentioned the location of his homestead and studio in the rolling peace of the Shongweni Hills, halfway between Pietermaritzburg and Durban. I thought it necessary to share these images (taken with my cell phone) to showcase just how beautiful it really is. I always admire the lifestyles of potters when they get it right - manage to live off their work.
View east of Shongweni hills.
The workshop I presented was one of three conducted this year - focusing on the major factors impacting on the development of ceramics in the 21st century. I also showcased my ceramic works - from Concept to Product; emphasising the role of surface development as part of the conceptual development phase of my work. I did so in the context of contemporary developments in ceramic transfers and decals, with specific reference to the work of designers and ceramists featured in the fabulous new book fragiles, Porcelain, Glass and Ceramics edited by Robert Klanten, Sven Ehmann and Sabrina Grill.
The Walford homestead with some of their pets.
Confrontational Ceramics / Book Review / Ceramics Art and Perception
Confrontational Ceramics by Judith Schwartz - the image above; an introduction to the section on Gender Issues.
The book review I did for Ceramics Art and Perception on the above mentioned publication is in the latest issue. It is the only accredited ceramics magazine in which academics can generate valuable research subsidy outputs for their published articles. It is therefore a great platform for researchers to highlight the significance and value of ceramics in the 21st century - whilst earning valuable subsidy output for their institutions and themselves. It should therefore generate academically sound articles. I wish the new editor/publisher Elaine O Henry everything of the best with the venture. Subscribe now and get it online. I wish to also congratulate Judith Schwartz (image below) on her fabulous new publication, Confrontational Ceramics. She is the Professor of Art and Art Education at New York University, Steinhardt School of Culture, Education, and Human Development.
Confrontational Ceramics / Book Review / Ceramics Art and Perception
Confrontational Ceramics by Judith Schwartz - the image above; an introduction to the section on Gender Issues.
The book review I did for Ceramics Art and Perception on the above mentioned publication is in the latest issue. It is the only accredited ceramics magazine in which academics can generate valuable research subsidy outputs for their published articles. It is therefore a great platform for researchers to highlight the significance and value of ceramics in the 21st century - whilst earning valuable subsidy output for their institutions and themselves. It should therefore generate academically sound articles. I wish the new editor/publisher Elaine O Henry everything of the best with the venture. Subscribe now and get it online. I wish to also congratulate Judith Schwartz (image below) on her fabulous new publication, Confrontational Ceramics. She is the Professor of Art and Art Education at New York University, Steinhardt School of Culture, Education, and Human Development.
Blair slams Pope's entrenched Attitude on Gays.
Celebrating pansies. see post entry dated 16 January 2009.
Another confrontational platter, titled Celebrating pansies - in direct response to Blair's strong words on on the Pope's "entrenched" views on homosexuality (see news paper article posted below or any of the posted links highlighted). In an interview with the gay men's magazine Attitude, he (converted to Catholicism in 2007) stated that the Vatican should modernise. You go Blaire - Attitude magazine hailed Blair as "probably the most prominent pro-gay religious figure in the the world (Daily Mail)".
Blair slams Pope's entrenched Attitude on Gays.
Celebrating pansies. see post entry dated 16 January 2009.
Another confrontational platter, titled Celebrating pansies - in direct response to Blair's strong words on on the Pope's "entrenched" views on homosexuality (see news paper article posted below or any of the posted links highlighted). In an interview with the gay men's magazine Attitude, he (converted to Catholicism in 2007) stated that the Vatican should modernise. You go Blaire - Attitude magazine hailed Blair as "probably the most prominent pro-gay religious figure in the the world (Daily Mail)".
Mould making for slip casting the rats
Mould making done simply, efficiently and effectively. The First phase of mould making. Splitting the prototype, taking care of undercuts . Building the divisions (Leather-hard clay slabs) - determined by the number of sections to be moulded. I normally secure the prototype in a clay slab to ensure no plaster penetrates below the prototype and it also provides support to the extruded plastic sheeting (to hold its shape - determined by the thickness of the plaster walls).
Preparing the mould casings - using extruded plastic sheeting and the ever clever cable-ties to hold the casing together; ensuring no plaster escapes the casing. Soft soap is applied and left to dry to ensure that the moulds seperate from each other.
Poring spouts are attached before casting the final pieces normally the bottom that contains the opening (pouring spout) for slip casting.
The moulding process is complete - the prototypes removed and moulds refined before drying. The keys that holds the pieces together are done with a large coin held at an angle and turned scraping the negative circular form as seen in the above image.
The completed moulds and prototypes - ready for drying. The tail was cast during the previous moulding process and ready for slip casting.
Mould making for slip casting the rats
Mould making done simply, efficiently and effectively. The First phase of mould making. Splitting the prototype, taking care of undercuts . Building the divisions (Leather-hard clay slabs) - determined by the number of sections to be moulded. I normally secure the prototype in a clay slab to ensure no plaster penetrates below the prototype and it also provides support to the extruded plastic sheeting (to hold its shape - determined by the thickness of the plaster walls).
Preparing the mould casings - using extruded plastic sheeting and the ever clever cable-ties to hold the casing together; ensuring no plaster escapes the casing. Soft soap is applied and left to dry to ensure that the moulds seperate from each other.
Poring spouts are attached before casting the final pieces normally the bottom that contains the opening (pouring spout) for slip casting.
The moulding process is complete - the prototypes removed and moulds refined before drying. The keys that holds the pieces together are done with a large coin held at an angle and turned scraping the negative circular form as seen in the above image.
The completed moulds and prototypes - ready for drying. The tail was cast during the previous moulding process and ready for slip casting.
Rat-a-tat-tat-tat-tat-tat-tat-tat-tat
Got you. Prototype for installation - see post entry below.
Modeling almost complete. I always review the form and shape the next day, before the moulding process begins.
Rat-a-tat-tat-tat-tat-tat-tat-tat-tat
Got you. Prototype for installation - see post entry below.
Modeling almost complete. I always review the form and shape the next day, before the moulding process begins.
