Ceramic Installation of Rats.

Studio Shot of the making of the first of three installations. Slip cast and assembled. 14 moulds are being slip cast to create the animated look - six moulds are cast simultaneously to create the carpet effect (submissive rats).

Ceramic installations.
I am in the process of making three installations, the process of which will feature on this blog until they are completed. The one will be titled, I never promised you a rose-garden, the other, A spanner in the works and the third requires further thought. The three concepts for the composite ceramic statements were resolved towards the end of last year. At the moment I am casting and assembling the first two installations, to get a feel for the layout and how the animated rats will be positioned individually, in line with the predetermined shape and form of the ceramic statements. One often has an idea of the layout, but on construction, the actual size and shape requires creative intervention and more importantly reflection; to refine the creative potential of the idea. 


For the conceptual development of the installations ( reference material, initial concepts and and preparatory drawings)  follow the link - label option at the bottom titled Installations Rats.

The work photographed above and below is titled, I never promised you a rose-garden, and takes the shape and form of a carpet. The rats are positioned aligned from both sides, their tails forming the carpet-tassels in weapon like fashion. The majority of rats are in a submissive position whilst their counterparts on both sides raise their animated heads, including their tails, in a confrontational manner.  A stand-off occurs in the centre where the two sides collide, reminiscent of parquet-flooring lifting as they expand caused by flooding. 

There is still allot of work to be done. The animated rats are cast, the body separate from the head.  Joining the head in different parts to the body creates the desired look of stubbornness, aggression and confrontation. There are seven different moulds for the tails, some designed to accommodate the piercing. The raised head and tails are the most aggressive stance. The idea is to cast the carpet with most of the rats being in a submissive position, interspersed in amongst them, will be the aggressors, starting their way from the second row to the back (on both sides) towards the middle, the standoff (pictured above and below). 

The exact formation needs to be fine-tuned - at this stage of developments, a more gradual confrontation is preferred. But that might change as the final animated rats are being cast and assembled and placed in the gaps, visible in the arial view of the installation (first image).  I envisage more rats to be cast with their heads slightly raised, as if they are in the process of joining their counterparts in the standoff' towards the middle of the carpet. The transition from the both ends of the carpet to the middle will therefore be more gradual and visually enticing. 

Read More

Ceramic Installation of Rats.

Studio Shot of the making of the first of three installations. Slip cast and assembled. 14 moulds are being slip cast to create the animated look - six moulds are cast simultaneously to create the carpet effect (submissive rats).

Ceramic installations.
I am in the process of making three installations, the process of which will feature on this blog until they are completed. The one will be titled, I never promised you a rose-garden, the other, A spanner in the works and the third requires further thought. The three concepts for the composite ceramic statements were resolved towards the end of last year. At the moment I am casting and assembling the first two installations, to get a feel for the layout and how the animated rats will be positioned individually, in line with the predetermined shape and form of the ceramic statements. One often has an idea of the layout, but on construction, the actual size and shape requires creative intervention and more importantly reflection; to refine the creative potential of the idea. 


For the conceptual development of the installations ( reference material, initial concepts and and preparatory drawings)  follow the link - label option at the bottom titled Installations Rats.

The work photographed above and below is titled, I never promised you a rose-garden, and takes the shape and form of a carpet. The rats are positioned aligned from both sides, their tails forming the carpet-tassels in weapon like fashion. The majority of rats are in a submissive position whilst their counterparts on both sides raise their animated heads, including their tails, in a confrontational manner.  A stand-off occurs in the centre where the two sides collide, reminiscent of parquet-flooring lifting as they expand caused by flooding. 

There is still allot of work to be done. The animated rats are cast, the body separate from the head.  Joining the head in different parts to the body creates the desired look of stubbornness, aggression and confrontation. There are seven different moulds for the tails, some designed to accommodate the piercing. The raised head and tails are the most aggressive stance. The idea is to cast the carpet with most of the rats being in a submissive position, interspersed in amongst them, will be the aggressors, starting their way from the second row to the back (on both sides) towards the middle, the standoff (pictured above and below). 

The exact formation needs to be fine-tuned - at this stage of developments, a more gradual confrontation is preferred. But that might change as the final animated rats are being cast and assembled and placed in the gaps, visible in the arial view of the installation (first image).  I envisage more rats to be cast with their heads slightly raised, as if they are in the process of joining their counterparts in the standoff' towards the middle of the carpet. The transition from the both ends of the carpet to the middle will therefore be more gradual and visually enticing. 

Read More

Hand-built Porcelain Sculptures

Fountain of life (1983) 350 x 310 x 185 mm. Private collection of Hayden Proud. Photographs by Jac De Villiers.


The following ceramic sculptures were hand-built in porcelain and were the first works completed towards my masters degree at UCT, during the first year of study in 1983. The works focused on the mortal's quest for immortality. This series draws upon Celtic mythology. Reference was made to analogous Christian doctrines, the Sacraments of Baptism and the Eucharist  as a means to obtaining immortality.


Quest for immortality - Myths pertaining to immortality.


Fountain of Life (ceramic sculpture above).
Imagery: This sculpture depicts a gaelic version of the Old testament paradise. The christian saints diving into the Waters of Life in search of spiritual regeneration. Rising out of the water they eat the mandorla-shaped nuts that have fallen from the trees and thereby receive divine inspiration. 

Process:
Slab-constructed and modelled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). Fired to 1250 degrees Celsius. A 'Green' star glaze earthenware glaze was applied and fired to 1060 degrees Celsius. Painted with gold lustre and fired to 720 degrees celsius.

Immortality Act (1983) 195 x 200 x 110 mm. Private collection. Photographs by Jac De Villiers.


Imagery: The pretentious mortal is drawn by curiosity to attempt to experience the life of the saints for herself. The waters of life rise up and repel as she approached the well. The saints that swim in it cast her out and abandon her.

Process: Slab constructed and modeled in oxide-tinted porcelain and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped) Fired to 1250 degrees celsius. The 'fish' was painted in acrylic. 

Man is what he eats (1983) 340 x 370 x 60 mm. Private collection Raymond and Emily Hon. Photographs by Jac De Villiers.

Imagery: The subject, desiring to share in the life of the saints, is dressed in her bathing-constume. Appropriately attired, she can swim in the Waters of Life. She is elevated above a container shaped like a fish, which is analogous to a baptismal font. She is shown at the moment of confrontation with the fish she has caught. She is about to consume the fish which is endowed with divine inspiration and knowledge, and to share in these gifts herself. 

Process:  Slab constructed and modeled in porcelain. the 'water' was made of porcelain, inlaid with cobalt-tinted porcelain. The 'fish' is painted with a peach underglaze colour and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped'. fired to 1250 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. The 'fish' was painted with acrylic. 

The Apples of Hesperides. (1983) 335 x 345 x 170 mm. Private collection. Photographs by Jac De Villiers.


Imagery: This sculpture, making reference to Egyptian and Christian iconography, portrays the Soul partaking of the Fruit of Redemption. In the Egyptian mythology the soul, on entering the underworld , is symbolised as a hawk.
The orchard is placed on a rectangular base representing an altar, referring to the sacrifices of Christ in the Eucharist. the fish together with the apples is symbolic of the New Adam who brings healing and deliverance.

Process; slab constructed and modeled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). The 'water' was glazed in a earthenware transparent glaze and fired separately to 1060 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. 
The 'apples' were painted with a yellow lustre (see detail on the right). The dry lustre was lightly sprayed with paraffin causing it to seperate. An application of red lustre was applied to the wet surface causing the red lustre to move with the paraffin. Once the red lustre and yellow lustre intermingled they produced the third colour which was green.

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Hand-built Porcelain Sculptures

Fountain of life (1983) 350 x 310 x 185 mm. Private collection of Hayden Proud. Photographs by Jac De Villiers.


The following ceramic sculptures were hand-built in porcelain and were the first works completed towards my masters degree at UCT, during the first year of study in 1983. The works focused on the mortal's quest for immortality. This series draws upon Celtic mythology. Reference was made to analogous Christian doctrines, the Sacraments of Baptism and the Eucharist  as a means to obtaining immortality.


Quest for immortality - Myths pertaining to immortality.


Fountain of Life (ceramic sculpture above).
Imagery: This sculpture depicts a gaelic version of the Old testament paradise. The christian saints diving into the Waters of Life in search of spiritual regeneration. Rising out of the water they eat the mandorla-shaped nuts that have fallen from the trees and thereby receive divine inspiration. 

Process:
Slab-constructed and modelled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). Fired to 1250 degrees Celsius. A 'Green' star glaze earthenware glaze was applied and fired to 1060 degrees Celsius. Painted with gold lustre and fired to 720 degrees celsius.

Immortality Act (1983) 195 x 200 x 110 mm. Private collection. Photographs by Jac De Villiers.


Imagery: The pretentious mortal is drawn by curiosity to attempt to experience the life of the saints for herself. The waters of life rise up and repel as she approached the well. The saints that swim in it cast her out and abandon her.

Process: Slab constructed and modeled in oxide-tinted porcelain and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped) Fired to 1250 degrees celsius. The 'fish' was painted in acrylic. 

Man is what he eats (1983) 340 x 370 x 60 mm. Private collection Raymond and Emily Hon. Photographs by Jac De Villiers.

Imagery: The subject, desiring to share in the life of the saints, is dressed in her bathing-constume. Appropriately attired, she can swim in the Waters of Life. She is elevated above a container shaped like a fish, which is analogous to a baptismal font. She is shown at the moment of confrontation with the fish she has caught. She is about to consume the fish which is endowed with divine inspiration and knowledge, and to share in these gifts herself. 

Process:  Slab constructed and modeled in porcelain. the 'water' was made of porcelain, inlaid with cobalt-tinted porcelain. The 'fish' is painted with a peach underglaze colour and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped'. fired to 1250 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. The 'fish' was painted with acrylic. 

The Apples of Hesperides. (1983) 335 x 345 x 170 mm. Private collection. Photographs by Jac De Villiers.


Imagery: This sculpture, making reference to Egyptian and Christian iconography, portrays the Soul partaking of the Fruit of Redemption. In the Egyptian mythology the soul, on entering the underworld , is symbolised as a hawk.
The orchard is placed on a rectangular base representing an altar, referring to the sacrifices of Christ in the Eucharist. the fish together with the apples is symbolic of the New Adam who brings healing and deliverance.

Process; slab constructed and modeled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). The 'water' was glazed in a earthenware transparent glaze and fired separately to 1060 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. 
The 'apples' were painted with a yellow lustre (see detail on the right). The dry lustre was lightly sprayed with paraffin causing it to seperate. An application of red lustre was applied to the wet surface causing the red lustre to move with the paraffin. Once the red lustre and yellow lustre intermingled they produced the third colour which was green.

Read More