We did good work people. It may have been rocky at times or slightly confusing. Maybe you wanted to throw a watermelon at a wall and watch it break. Or run through a corn field naked.....ah maybe not. But seriously, I would use the word impressive for how we got everything to work in the end. Also someone needs to scrap chads epoxy off the art floor, I did see a slight drop or so. Just kidding Joellyn "Tenure" Rock.
If you didn't see my piece, here it is. Its the idea or shall I say the interaction between the internal and external and beginning to see how the body works as a structure or vessel. I worked alot trying to find the right materials to carry out this idea on ceramic tiles. I wanted my tiles to be an investigation between the viewer and the piece. Each time being different but slightly the same. Being the viewer you could change the order and set up of the tiles. In some ways creating an entirely new but yet human form. The idea: Our body as a structure can be taking apart and changed in a way that will still yet work but always be a vessel of ourselves.
1. Print your image and fill up a bowl of water. Also have your ceramic piece ready to go. AND THAT IT HAS BEEN CLEANED. You don't want it to peal off in the kiln. NO NO NO.
2. You want to cut the image off as close as possible to the image. This well help seal it on easier since there will be less lazertran to cover on to the surface.
3. You will now use the bucket of water. You are going to put the paper into the bucket for roughly. 60 seconds. or until the paper seperates from the lazertran.
4. Take image out of water and place on ceramics. Push down on one edge and then pull the under paper out, leaving the clear lazertran on.
5. Once paper is gone, begin to smooth out the lazertran, getting rid of as many bubbles as possible. Once this is done, place in kiln at either cone 03 or 04. Can be fired as low as 06 but in my experience 03 and 04 gives the best result.
By creating a type of narrative which employs recognizable images as symbols and metaphors, I aim to provide new ways of perceiving and understanding these issues. I refer to these works as symbolic narratives.
My work is also meant to provoke questioning both visually and conceptually.
I develop this narrative by placing these symbols in juxtaposition to their origins or in otherwise ironic settings. This conflict between expectation and contradiction is further reinforced by the placement of the drawings on the sculptural forms. In one area the sculptural character may be defined and strengthened by the drawings, while in other areas the form itself may be nullified. I use this pushing and pulling of space and illusion as another means of manipulating the viewer's perception. These conflicts and contradictions encourage a questioning atmosphere and direct the viewer to examine the ambiguities of reality, illusion and perception.
Another consistent theme in my work involves integrating the human presence with the narrative. Though a recognizable figure is rarely depicted, I utilize images that refer to this presence.
My use of predominately black and white is influenced by German Expressionist Wood Block Prints.
When working on ideas for pieces I look for contradiction, irony and humor in the world that surrounds me. I like to take notice of both how we impact this world and how we interpret that impact.
The Drawings are created with wax resist and some scragiffito.
The celebration of domestic rituals has been a central theme in the narratives, with
more recent work encompassing folk sayings.
Intricate narrative illustrations are etched with needles on to raw porcelain and
stoneware, before stains, glazes and decals are fired on.
Forms range from framed panels and vessels to books with moveable pages, folding
screens and clocks.
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