Pierced and Tattooed Rats; first attempt.

The self-righteous and the prowler. Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet  underglaze colours and fired to 1220 Celcius.

The prowler (front view). Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet underglaze colours and fired to 1220 Celcius.

The evangelist and the pervert. Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet underglaze colours and fired to 1220 Celcius.

 

active-passive /action-passion. Group of pierced and tattooed rats scheduled for an exhibition, titled Art with a Pulse in England -details to follow.

 



















Slipcast Rats with piercings ready for painting.

Moulds for the piercings below.

Modelling the piercings with C Clay (neck above and tail below). C Clay is purchased from Advanced Materials Technology in South Africa - It softens with heat. I use  two a spotlights. One directed at a deposit of C Clay, to keep it in a semi-molten state (not to soft and too hot - just  the right consistency to work with. The other spot light provide general heat; directed at the prototype - that I am modeling. It ensures that the prototype remains a workable state - the clay that is (slightly softened). Holding the prototype in your hand also retains the general heat and ensures the right consistency of the clay is maintained throughout the modeling phase.

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Pierced and Tattooed Rats; first attempt.

The self-righteous and the prowler. Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet  underglaze colours and fired to 1220 Celcius.

The prowler (front view). Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet underglaze colours and fired to 1220 Celcius.

The evangelist and the pervert. Slip cast and bisquit fired to 900 Celcius. Painted with Amaco velvet underglaze colours and fired to 1220 Celcius.

 

active-passive /action-passion. Group of pierced and tattooed rats scheduled for an exhibition, titled Art with a Pulse in England -details to follow.

 



















Slipcast Rats with piercings ready for painting.

Moulds for the piercings below.

Modelling the piercings with C Clay (neck above and tail below). C Clay is purchased from Advanced Materials Technology in South Africa - It softens with heat. I use  two a spotlights. One directed at a deposit of C Clay, to keep it in a semi-molten state (not to soft and too hot - just  the right consistency to work with. The other spot light provide general heat; directed at the prototype - that I am modeling. It ensures that the prototype remains a workable state - the clay that is (slightly softened). Holding the prototype in your hand also retains the general heat and ensures the right consistency of the clay is maintained throughout the modeling phase.

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F1 Tattoo - Faith in Rubens Barrichello

Rubens Barrichello has a tattoo on his right arm. He'd alwasy wanted to have a tattoo but never dare tell his father. At the time, it was seen as something really agressive and not right for Rubens Barrichello. Then at the end of 2005, his dad came to see him and proudly revealed he had a new tattoo he had just done! It did not take long for Rubens Barrichello to decide it was time to have his tattoo done as well and the following day, he was off to the tattoo place to have his tattoo. He had waited long enough.

His tattoo is 2 letters - F for Fernando and E for Eduardo, his two sons. And you can also read it as Fé, which in Brazilian means Faith.

Rubens Barrichello is very much a family man and he is proud to have the 2 letters for his two sons with him through every race.

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Horse and Rider

Horse and Rider (1985) 500 X 490 X 250 mm, collection Carl Landsberg. Photograph Jac De Villiers. 

Imagery;

This piece marks the beginning of the final series of ceramic sculptures produced for my masters degree program at UCT (graduated in 1986), derived from an investigation of myths pertaining to eschatology, i.e. the science of the four last things; death, judgement, heaven and hell. The sculpture represents and androgynous figure of Hope, which draws together related heroes from the traditions of western European and Mediterranean mythology; Christ the Messiah; Isis, Venus and Mary as the Queen of Heaven; Apollo who slew the serpent, and Bacchus the promote of civilization.

The figure of hope is riding an animal that can swim like a fish, fly like Pegasus, and is striped like a tiger. The fusion of these aspects enables Hope to confront dangerous, elemental forces.

Process;

Press- moulded and handbuilt with red and white stoneware clay, and bisquit fired to 900 degrees Celsius. Painted with oxides, stained slips and underglaze colours and fired to 900  degrees Celsius. The 'horse' was wax resisted. Glazed in a transparent earthenware glaze (sprayed). Fired to 1060 degrees C. Painted with coloured lustres and fired to 720 degrees C. 

Series of drawings to refine the final shape and form of the sculpture.

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