Meanwhile in studio

I am working on new moulds and started some casts and hope to finish the whole range over next few days. So here is a sneak peak of what I am doing.

The idea is the same as in previous semester, this time I am working with 3 types of starting tiles. They are bigger - about 16 cm and all have the same base, the difference is in the angles of the tiles 70º, 60º and 50º which makes the illusion that they are getting smaller.

The next step is to make them a bit more interesting :D

My project is based on modern architecture but the my main piece will be placed in the main college building that has both old and new parts. I want to incorporate that in the piece and am looking for ways of adding textures. This example was a byproduct - I needed to fill up the mould before working on the back of the tile and just pressed clay into it. I like the effect and will explore it more over next weeks.

Samples of the casts.

Overall I am planing to make 12 variations of the tiles and so far I have 8 of them ready.

Will update as soon as everything is finished and ready to cast.

Comments

Naked Raku

In the end of January I have attended a Naked Raku workshop in Thomastown organised by Ceramics Ireland . I already was familiar with both Raku and Naked Raku but wanted to extend my knowledge in this field. Naked Raku is a firing technique in which the pot is masked with the slip and then glazed and fired @ 1000 C then the kiln is opened and pots are transferred to the reduction chamber filled with sawdust, and covered to accommodate the reduction process. The difference between the Raku and Naked Raku is that in the second process the glaze is pealed off after firing and the pot unglazed- Naked. It all seems quite confusing and a bit complicated but in fact it is very simple, fast and effective way of decorating ceramics. The only disadvantage is that the pot is porous and can be use only as decoration as it is not food safe. With time the smoke marks can get lighter which can be slowed down by applying oil or floor polish paste on pots. ...

Critical Thinking in studio practice.

I took part in a critical thinking workshop today which was design to develop a better understanding of the working and reasons behind my practice. I was familiar with some of the things I have to be conscious about when making and designing and I was trying to employ them in my work this year. Today I had to ask myself lots of questions and also I got a chance to hear what my pierce think about my work and how it is understood. It was a valuable lesson and I am glad that I have taken some notes :) More or less the critical thinking is constant practice of asking yourself why are you doing what you are doing and looking at all aspects of the project: materials, making processes, sociological connections, history, how the work can be read from different perspectives and what is important to you as a maker, who is the audience etc. The key is to keep open mind and welcome challenges instead of proceeding with the easiest solution. I went to my studio ...

1...2...3... testing...testing...

This week was a great challenge for me... I had tried to build my units out of porcelain, paperclay and finally fibreclay. In the beginning nothing worked - the curvy strips were getting straight when they dried or they weren't strong enough to build with them. Even now I still don't know how they will turn out after firing. Porcelain moves a lot in the kiln and I like it but this time I have to find a way to compromise it's desire to move with my idea of form I would like to achieve. Here are some of my test from this week. I am planning to fire them on Friday so the results will be on Monday. Please keep your fingers crossed for me :) This are just porcelain tests the middle one was a W and that's what is left of it after few hours. The last piece and the cylinder probably will collapse in the kiln... Well we'll see :) Now that's paperclay. As you can see on the bottom photo it also went flat after joining two pieces. I really hope the middle...

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