Aims:
I intend to explore the concept of distorted/contrived tableware as a vehicle to investigate the etiquette and systems that surround formal dining and how this excludes certain groups both symbolically and literally. This is developed from the stand and deliver project thematically and from this starting point I will develop a visual language that focuses more on the narrative element through sculptural language and surface motifs. This will also offer the opportunity to experiment with printmaking techniques in the incorporation of found recognisable images and text.
This is taken from my initial learning agreement and outline my aims at the onset of this self defined project.
Initially I gathered these images to be used in screen printing. I wanted to experiment printing directly onto clay as well as making my own decals so I could use the images and collage them at any point in the future. This are focused on Victorian etiquette, the 'happy family' motif, how to guides for table setting, the symbolic language of knife and folk placement and the gin lady that is the centre of Hogarth's Gin Lane. For me, she represents the 'feral feminine' which could offer an interesting contrast to the to the stifling systems under investigation.
Started with some samples: mono prints with screen, letter stamps, slip trail (stretched). Clay: white earthenware, grey and porcelain paper clay. I used the word don't as it's a restrictive command so fit with the theme. Formed a lot of these samples into basic plates as this offered the potential context of a dinner service.
Potential avenue to explore: notion of peasant pottery.
Traditional tableware forms, initial research to explore with printmaking and drawing processes. This is a world of ceramics that I have always avoided due to the over fussy, over decorative aesthetic, but within the context of this project it could offer a visual language that houses the pomposity nicely.
Mono prints: screen and transfer (paper) exploring the research gathered above on tradition tableware along with text.
Some initial contextual research sourced on Instagram. Interested in the illustrated slab work, collage and oddly interacting forms.
Betty Woodman, love the ambition of scale, the interaction of form and surface that interconnects, and the loose, gestural mark making.
A secret History of Clay: sculpture created from deconstructed and reconstructed tableware, bold illustration techniques to help define form.
Subversive Ceramics: the potential to use pre existing and reconstructed ceramics as a subversion tool. Also, really like the birds, this could be explored as forks flying to freedom to escape the regimented order enforced up on them.
Initial experiments with screen printing. I did a lot more by got a bit too involved and forgot to photograph. Also wanted to expand my vocabulary beyond don't, went for 'twatling', as it obvious sounds like a contemporary profanity but also has some old meanings as referenced below.
Initial experimentation with notion of tableware incorporating a variety of surface. The screened images are the decals I printed earlier using oxides, universal medium and a couple of varieties of papers that I bough for this purpose. This was a collaging process. I rolled the slabs, added the surfaces, moulded them around a variety of forms, then when they where leather hard I collaged them together to resemble tableware. Some of this batch wasn't sturdy enough to survive the firing process (or even getting into the kiln), due to not having bases and minimal contact point. I addressed this in the next batch. I still intent to explore the potential of 'finishing' these pieces and experiment with ways of resolving these issues with post fired techniques. Another point, I like the face, vessel and word 'don't' lined up on the rolling pin, this could be developed to make sets of characters that explore each of the rules of formal dinning.
Batch number 2. Used the same process as above but tried to make them a little more sturdy, incorporating a base and more support/contact points. Also added another command work: always. For part of this batch I used a pre existing stencil that had typography on. I intent to attempt to make my own which list the rules of engagement whilst formally dinning. As well as that I've incorporated an antique Indian wood block, a nod to colonialism and imposing cultural preconceptions were they ill belong. The portraits and eyes are there as a representation of being watched or judged. If I'm to continue to include these I need to practice my figure drawing a bit.
Some finalised form. Hopefully these will be a bit more sturdy and survive the firing process.
They survived. Although with the plate the kiln came up with the F1 fault so it didn't get to full temperature. May refire this the see what happens.
This on the other hand fell apart in the bisque firing but I managed to repair it (of sorts) with glaze in the second firing. Also quite like the fact it can stand up in different ways, that could potentially be developed within the work moving forward.
This one completely fell apart being transported to the kiln and there was no ways of fixing it with glaze. I fired it anyway as I wanted to explore methods of reconstructing. I also think some of these layouts are quite interesting, deconstructing and displaying an objects from several angles, almost a Cubist methodology. This offers the potential of developing relief panels.
Roped Nova into pulling some faces for me, she was directed to look disgusted, angry, judgemental and this is what she came up with. Gathered these and simplified to help will my illustrations.
After experimenting with the pre made stencils with random typography on them I wanted to produce my own so I could include more applicable text in accordance with the theme. I initially opted for some common notions surrounding the theme. The larger text was more successful, with the smallest no cutting through at all. Need to experiment with the settings/materials or just stick to larger text. That aside, the smallest text still has a texture that clay will pick up. Also, I could explore cutting the letters out of paper and roll into clay and letting it burn out in the kiln.
Initial samples using the previous stencils. after using them as individual stencils opted to start to layer them, mixing up the sentances and developing textural qualities. Also experimented with slips, transfer printing and a selection of moulds to shape the slabs. In shaping the slabs this gives the possibility of producing simple dishes/plates or components that can be collaged together to form more comple structures. With these initial samples the clay was quite wet, causing it ti stick to the clay and smudge the slip.
With these samples the clay and slip was a little drier. This faciliated a neater edge and allowed for the layering of text underneath a mono printed drawn images.
Selection of initial samples/plates out of the kiln. The white earthenware have glazed alright as opposed to the grey clay plates which unfortunatly are very milky. This glaze certainly needs spraying and not dipping. I'm happy with the screened images mixed with text and mono prints and intent to experiment with different glazes and accent colours.
Next Step is to focus again on form. This time I intend to think about designing prior to building so I will have some basic proportions and compositions to work towards. I intend to still employ the collage approach but want to see how this way of constructing responds when given clear parameters. To inform these designs I have decided to investigate two avenues. Firstly, the deconstruction and reconstruction of traditional tableware and secondly the theatrical costumes of the Bauhaus. The first one has obvious connotations with the theme, the second I selected as it relates to the performative element of the more elaborate dinning rituals, with the extreme absurd costumes resonating narratively.
Digital collages exploring the deconstruction and reconstruction of traditional victorian tableware.
Some initial sketches exploring the Bauhaus costumes and a deconstruction/reconstruction process with previous research gathered on traditional tableware.
Some examples of pitchers recorded to support development of tableware. I wanted to look at pieces that used slab building techniques and ones that collaged different elements together, to help inform my intial idea.
Also wanted to expand my research to incorporate personal anacdotal accounts of behaviours and rituals surrounding dinning. To gather this research I posted on Facebook and Instagram asking:
"For my MA I’m looking at table manners and the etiquette and traditions around dinning. Please can you share with me your experience of this. Did you get in trouble for having your elbows on a table? Or do you have a clear understanding of what all those different forks are for? I’m hoping to gather as many examples as I can, so please share with me your traditions, memories or expectations whilst eating your tea (or dinner)."
The following responces are recorded on these furums, hence a public domain. Other responses that were sent through messanger, I have recorded in my sketchbook and will refrain from posting them on this blog, because ethically to make public a private message seems a little questionable.
Instagram:
sallyedmundsonceramics: I'm waiting for my mum's old chestnut, don't speak with your mouth full! Don't start until everyone has been served
paulacanneyceramics: @kimstuttardceramics could be a Canney family thing! What was nice that all us children were included, so even a pre-teen female was served before a grandad or dad .......... And the dinner table was the place where we were encouraged to talk and interact - though not to 'slop' (slopping = talking with your mouth full).
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