Seduced and abandoned; Ceramic Competitions!

Spanner in the works, Page one of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Seduced

Entering Ceramic Competitions is every aspiring ceramist�s dream to gain regional, national and international recognition. The idea is to seek an acclaimed status (celebrated, applauded and much appraised) amongst the elite of one�s ceramic peers. Being accepted and winning an award, boosts one�s creative endeavours and looks great on the CV. However being rejected, especially when you were very confident with your entry, can be devastating!

Spanner in the works, Page two of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Case in point

This post entry is in direct response to my work being rejected for the Mixed media � Ceramic Plus, The Nassausiche Sparkasse 2010 Talent Award for Ceramics. Enclosed are the drawings, images and supporting text submitted for the Ceramic Competition (as requested in the entry forms) �an installation of 16 tattooed rats with actual piercings titled, Spanner in the Works. To my knowledge this is the first time, in an International Ceramic Competition, that your ideas, drawings, models and prototypes had to be submitted for adjudication and not photographic documentation of the finished final piece. I assume most ceramists would have submitted images of their final pieces and not drawings etc as stated on the entry forms.

Emotional Distress

I was very confident with my drawing skills and design layout knowledge, including my highly refined conceptual ability, that I would be one of the 150 out of 350 entries to this prestigious awards exhibition. Especially as the 2010 competition focuses on Art or expressive works rather than studio ceramics and or Ceramic Craft. The inclusion of piercing linked to tattoos, associated with the historically significant event, Operational Spanner UK, seemed the obvious creative direction for me to pursue, and perfectly meets the competition's mixed media criteria. On rejection a carefully constructed letter was compiled and sent to the abandoned and rejected individuals, with these comforting and encouraging words; to consider future participation � �but please: as you surely know, - in another context, with another group of jury members or another theme the decision could have been easily another one involving your wonderful project, too.�

Spanner in the works, Page three of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Abandonment

Most competitions have a policy that the judges decision is final and no correspondence will be entered into / or entertained at the rejection of the work. No feedback is ever provided. This leaves one with the feeling of self-doubt and rejection, a Dostoyevsky type angst (Crime and Punishment syndrome) associated with a lack of creativity and innovation underpinning one�s work.

Judging

In my capacity as a judge, I have myself rejected work for regional and national competitions, and therefore should be well prepared for the worst outcome. However there are those times when one is maybe over confident and forget that there are so many factors that contribute to work being accepted and certain work to be rejected. To try and begin to analyse the reasons for the work�s rejection, is a futile exercise, and in itself destructive. There are always more questions than answers. Doubt is not all bad and if channelled correctly could bring out the best in one�s creativity.

Restitution?

One should take refuge in one�s self belief, and pursue one�s creative passion with ever increasing determination. One needs to get over it, not to take it so personally, and to get on with it. So there you have it. Respect for the judges decision is always good governance, obstinate behaviour could have serious consequences, that draws far too much attention to oneself for the wrong reasons, which most certainly will not aid one�s future career development or successful entry in future competitions.

Read More

Seduced and abandoned; Ceramic Competitions!

Spanner in the works, Page one of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Seduced

Entering Ceramic Competitions is every aspiring ceramist�s dream to gain regional, national and international recognition. The idea is to seek an acclaimed status (celebrated, applauded and much appraised) amongst the elite of one�s ceramic peers. Being accepted and winning an award, boosts one�s creative endeavours and looks great on the CV. However being rejected, especially when you were very confident with your entry, can be devastating!

Spanner in the works, Page two of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Case in point

This post entry is in direct response to my work being rejected for the Mixed media � Ceramic Plus, The Nassausiche Sparkasse 2010 Talent Award for Ceramics. Enclosed are the drawings, images and supporting text submitted for the Ceramic Competition (as requested in the entry forms) �an installation of 16 tattooed rats with actual piercings titled, Spanner in the Works. To my knowledge this is the first time, in an International Ceramic Competition, that your ideas, drawings, models and prototypes had to be submitted for adjudication and not photographic documentation of the finished final piece. I assume most ceramists would have submitted images of their final pieces and not drawings etc as stated on the entry forms.

Emotional Distress

I was very confident with my drawing skills and design layout knowledge, including my highly refined conceptual ability, that I would be one of the 150 out of 350 entries to this prestigious awards exhibition. Especially as the 2010 competition focuses on Art or expressive works rather than studio ceramics and or Ceramic Craft. The inclusion of piercing linked to tattoos, associated with the historically significant event, Operational Spanner UK, seemed the obvious creative direction for me to pursue, and perfectly meets the competition's mixed media criteria. On rejection a carefully constructed letter was compiled and sent to the abandoned and rejected individuals, with these comforting and encouraging words; to consider future participation � �but please: as you surely know, - in another context, with another group of jury members or another theme the decision could have been easily another one involving your wonderful project, too.�

Spanner in the works, Page three of three. Entry forms for Mixed Media - Ceramics plus, The Nassauische Sparkasse 2010 Talent Award for Ceramics.

Abandonment

Most competitions have a policy that the judges decision is final and no correspondence will be entered into / or entertained at the rejection of the work. No feedback is ever provided. This leaves one with the feeling of self-doubt and rejection, a Dostoyevsky type angst (Crime and Punishment syndrome) associated with a lack of creativity and innovation underpinning one�s work.

Judging

In my capacity as a judge, I have myself rejected work for regional and national competitions, and therefore should be well prepared for the worst outcome. However there are those times when one is maybe over confident and forget that there are so many factors that contribute to work being accepted and certain work to be rejected. To try and begin to analyse the reasons for the work�s rejection, is a futile exercise, and in itself destructive. There are always more questions than answers. Doubt is not all bad and if channelled correctly could bring out the best in one�s creativity.

Restitution?

One should take refuge in one�s self belief, and pursue one�s creative passion with ever increasing determination. One needs to get over it, not to take it so personally, and to get on with it. So there you have it. Respect for the judges decision is always good governance, obstinate behaviour could have serious consequences, that draws far too much attention to oneself for the wrong reasons, which most certainly will not aid one�s future career development or successful entry in future competitions.

Read More

Tattooed Rats win award.

Claypot Award certificate, Glazecor Regional Ceramics Awards Exhibition, Ceramics Southern Africa.

The tattooed rats, the images below, were submitted as a group for Ceramics Southern Africa's regional awards exhibition, and won the Claypot Award (certificate above). The Judge was Wilma Cruise, an acclaimed South Africa ceramist /artist.

Glazecor Regional Exhibition,

The awards exhibition opened last week at the Edoardo Villa Museum, University of Pretoria (South Africa) and closes on the 25 October 2009.

The Self Righteous and the Outcast, Black and white incised Amaco Under glaze colours (sgrafitto) fired to 1200 degrees Celsius.

Pair of Crafty Rats, Incised black and brown Under-glaze Colours (sgrafitto) fired to 1220 degrees Celsius.

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Tattooed Rats win award.

Claypot Award certificate, Glazecor Regional Ceramics Awards Exhibition, Ceramics Southern Africa.

The tattooed rats, the images below, were submitted as a group for Ceramics Southern Africa's regional awards exhibition, and won the Claypot Award (certificate above). The Judge was Wilma Cruise, an acclaimed South Africa ceramist /artist.

Glazecor Regional Exhibition,

The awards exhibition opened last week at the Edoardo Villa Museum, University of Pretoria (South Africa) and closes on the 25 October 2009.

The Self Righteous and the Outcast, Black and white incised Amaco Under glaze colours (sgrafitto) fired to 1200 degrees Celsius.

Pair of Crafty Rats, Incised black and brown Under-glaze Colours (sgrafitto) fired to 1220 degrees Celsius.

Read More

Tattooed Rats; Active / Passive - Action / Passion.

The Self Righteous and the outcast

Painting and Sgraffito, black under-glaze colour, fired to 1240 degree Celsius. 180mm length x 130mm height

A small gallery of selected works from my last exhibition. The chosen pieces, showcasing the diverse range of tattooed rats (realised in different ceramic techniques and processes), were professionally photographed in a studio with proper lighting. What a difference it makes.

The Pansy and the Roses

Colour transfers, gold and platinum lustre, fired to 1120 degree Celsius. 190mm length x 140mm height

The Queen in the face of hell

Painting and Sgraffito, various under-glaze colours, fired to 1240 degree Celsius. 180mm length x 130mm height

Crafty Rats

Painting and Sgraffito, black and brown under-glaze colour, fired to 1240 degree Celsius. 180mm length x 130mm height

The Cardinal and the queer

Colour and black transfers, gold and platinum lustre, fired to 1120 degree Celsius. 190mm length x 140mm height.

The Pansy and the Self Righteous

Painting and Sgraffito, various under-glaze colours, fired to 1240 degree Celsius. 180mm length x 130mm height

Read More

Tattooed Rats; Active / Passive - Action / Passion.

The Self Righteous and the outcast

Painting and Sgraffito, black under-glaze colour, fired to 1240 degree Celsius. 180mm length x 130mm height

A small gallery of selected works from my last exhibition. The chosen pieces, showcasing the diverse range of tattooed rats (realised in different ceramic techniques and processes), were professionally photographed in a studio with proper lighting. What a difference it makes.

The Pansy and the Roses

Colour transfers, gold and platinum lustre, fired to 1120 degree Celsius. 190mm length x 140mm height

The Queen in the face of hell

Painting and Sgraffito, various under-glaze colours, fired to 1240 degree Celsius. 180mm length x 130mm height

Crafty Rats

Painting and Sgraffito, black and brown under-glaze colour, fired to 1240 degree Celsius. 180mm length x 130mm height

The Cardinal and the queer

Colour and black transfers, gold and platinum lustre, fired to 1120 degree Celsius. 190mm length x 140mm height.

The Pansy and the Self Righteous

Painting and Sgraffito, various under-glaze colours, fired to 1240 degree Celsius. 180mm length x 130mm height

Read More

Ceramic Convergence

Group exhibition invitation.

The Exhibition of my latest work will be at venue objekt address 32, 7th avenue Parktown North. Date 6 August 2009 time 17h30 for 18h00. The other artists include John Shirley, Lesley- Ann Hoets and Gemma Orkin.

active/passive - action /passion ! (Title of body of work)

Press release for my work.

Rodents, mice and rats are symbols of the underworld, of destruction, of evil, rarely seen in Renaissance Art. It is a plague animal, a symbol of death, decay and the powers of darkness. These creatures often invade the home and are spotted in amongst the pots, pans, crockery and pottery. They were the major vehicle for spreading the disease during the black plaque, however their moment of glory came when they featured prominently on the famous wooden furniture of the 1920's carpenter, Robert Thompson.

This exhibition features rats in a variety of animated confrontational configurations. 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. Clothed in their respective symbolic floral outfits ( ceramic transfers) and or branding their tattooed insignia (sgraffito); they will embody the conflicting views of respective groupings in the plaque of intolerance prevalent in our society today. Their tails are shaped as weapons and when coated with gold and platinum are reminiscent of threatening stilettos. All these symbolic gestures turn them, on close observation , into fundamentalist and extremist brats (bullies); ready to spread their anger and frustration, reminiscent of their actions during the black plaque.

Tattoos are playing and increasingly significant role in the development of the concepts of my ceramic statements , especially with regard to surface development, complimenting the forms and shapes; becoming the defining factor in determining the inherent meaning of the ceramic piece.

Like tattoos, with reference to Thimotheos Roussos' interpretation (in his essay A man's 'true face', concealing/revealing masculinity's Witi Ihimaera), the insignia (decoration) on the ceramic sculptures draws the gaze of the viewer, exercises the power of fascination and lowers certain defences. The eye isolates and follows the decorative patterns of the design before seduction subsides and the symbolism provokes the viewer to respond and engage the underlining meaning.

Read More

Ceramic Convergence

Group exhibition invitation.

The Exhibition of my latest work will be at venue objekt address 32, 7th avenue Parktown North. Date 6 August 2009 time 17h30 for 18h00. The other artists include John Shirley, Lesley- Ann Hoets and Gemma Orkin.

active/passive - action /passion ! (Title of body of work)

Press release for my work.

Rodents, mice and rats are symbols of the underworld, of destruction, of evil, rarely seen in Renaissance Art. It is a plague animal, a symbol of death, decay and the powers of darkness. These creatures often invade the home and are spotted in amongst the pots, pans, crockery and pottery. They were the major vehicle for spreading the disease during the black plaque, however their moment of glory came when they featured prominently on the famous wooden furniture of the 1920's carpenter, Robert Thompson.

This exhibition features rats in a variety of animated confrontational configurations. 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. Clothed in their respective symbolic floral outfits ( ceramic transfers) and or branding their tattooed insignia (sgraffito); they will embody the conflicting views of respective groupings in the plaque of intolerance prevalent in our society today. Their tails are shaped as weapons and when coated with gold and platinum are reminiscent of threatening stilettos. All these symbolic gestures turn them, on close observation , into fundamentalist and extremist brats (bullies); ready to spread their anger and frustration, reminiscent of their actions during the black plaque.

Tattoos are playing and increasingly significant role in the development of the concepts of my ceramic statements , especially with regard to surface development, complimenting the forms and shapes; becoming the defining factor in determining the inherent meaning of the ceramic piece.

Like tattoos, with reference to Thimotheos Roussos' interpretation (in his essay A man's 'true face', concealing/revealing masculinity's Witi Ihimaera), the insignia (decoration) on the ceramic sculptures draws the gaze of the viewer, exercises the power of fascination and lowers certain defences. The eye isolates and follows the decorative patterns of the design before seduction subsides and the symbolism provokes the viewer to respond and engage the underlining meaning.

Read More

Naked Tattooed Rats

Group of Tattooed Rats in the Flesh. Tattooed Rats (colour) fired to 1250 degrees Celsius. Painted and incised.

Next week is the Exhibition. Press Release to follow on Wednesday. Here are some finished works photographed for the faithful followers - a preview.

The Queen in the face of hell , Pair of Tattooed Rats (colour) fired to 1250 degrees Celsius. Painted and incised.

The Pansy and the Self-righteous. Pair of Tattooed Rats (colour) fired to 1250 degrees Celsius. Painted and incised.

Self-righteous and the Hell-raiser, Black and Red Sgraffito (fired to 1250 degrees Celsius).

Painted and incised. For a detailed step by step account of the process see previous blog entry below.

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