Process: Coil Building Further Work and Realisations

Having made and bisque fired the mortar and started sketching its surface texture I now feel I need to respond to the sketch by making. I have decided to make some useful functional items for ink making in response to my sketches, I have experimented with form on these two pieces but applied a similar texture to the mortar. The purpose of these objects in this project is to respond and develop a texture from a physical space to a 2D space and back again etc. I feel this conversation elevates the stone like quality and the material itself into a different space, demonstrating the capabilities of the clay as well as the tool used, a cutlery knife. By elevating and bringing attention to the texture I feel I have changed the whole purpose to the project. I have decided to not make a final pestle to accompany the mortar as it would detract from the experience of the mortar. Making the mortar was the aim for the first part of this project, fulfilling the bowl requirement of the project, however, the bowl outcome has really changed my orientation for this half of the project. The importance of the bowl, the mortar, being a singular outcome and my pursuit to present a sketch or series of sketches as the second outcome is fundamental as my response to the brief.

The mortar is a functional item which is missing its sibling component. The lack of a pestle is my intention of highlighting the physical attributes of the mortar. Although I initially wanted to make a psetle to accompany the mortar therefore making a fully functional set to use in ink making, I realised with further exploration of the mortar and also after making test pestles that my response to the brief had changed. I knew I needed to reflect further when I was doubting making a pestle. Re-visiting the brief I realised that my Gesamtkunstwerk, my ideal project and outcome would be to make, sketch and fulfill an idea but in actuality my ideal would be the freedom to be reflective in a project and to realise and actualise new intentions. I found beauty in the surface texture and I realised that I wanted to respond to that, I felt that this was now the avenue to follow. My new words for this project are; reflect, realise, respond and actualise.

Although I have not been conventional during this project with sudden understandings of my actual intentions I feel I have developed the project in live time and in a way, listened to the things that I made. I do not feel that I have abandoned aspects of my ideas but realised and made connections with possibly what my consciousness was telling me. I intend to complete the pestle and mortar set but not as part of this project. The mortar’s function will be used, as to its original purpose, next term.

Process: Glaze Firing

 

Setting up the kiln for a glaze firing.

I decided to glaze my test tiles and some examples of pestles that I made, I wanted to vary the surfaces from the textured test tiles to the smooth pestles in order to gain an understanding of how the glaze will react. I am dubious of the result from the glaze as I’m not sure it will not turn out how I expect, a lesson I have learnt during this project.

I have set up the electric test kiln ensuring that the cone is directly in front of the peep hole on the kiln door. This makes it possible for me to see when the kiln has reached temperature therefore the glaze should be exposed to the required amount of heat.

I have used a yellow and blue/purple glaze that fire up to 1280 degrees Celsius. I hope they turn out right!

 

Process: Sketching the Mortar

Observing the mortar.

 

 

I have found that drawing the surface texture of the mortar a really good way to get to know it. Although I made it and applied texture to it I still felt that I didn’t really KNOW it. By sketching the bowl it forced me to really look and see and really know and remember the form. Although the sketch may not represent the bowl in likeness it suggests all the textures and shape the bowl has. As a person who learns through repetition and making mistakes I find this the only way to really know and experience things.

 

Documentation: Bowl

As part of the project I had to make a 60s film documenting an element of the bowl project. As the time restriction was very tight I decided to document a lot of short clips visualising the processes that I used to get to the outcome of the project. This consisted of remembering to video certain interesting elements of the project. I knew I didn’t want to make a sleek, well designed video, that is not my character, style or in my skill set. I wanted to use my phone to video the clips as this allowed me the freedom to video anywhere and whenever, I would not be restricted by needing to book out a video camera from the AV store. Also, I have never edited a film and so using my phone would allow me to use an app to easily edit roughly the video.

 

 

Using the app Power Director really helped me do the basics, cut, speed up and orientate the video. Although most of the video is 90 degrees to the right I wanted to keep the size and quality of the video without having to border or crop certain clips. To make the best of this situation I ensured that all of the sideways clips were 90 degrees to the right. This gives the video consistency, making it easier for the viewer to follow.

Process: Sketching Plaster Mould Results

Although I was not pleased with my plaster mould result I did find it very interesting to sketch. I found navigating the crevices and nooks of the clay thrilling. The detail in the clay was enormous and as I wanted to represent the shape and object as a whole I decided to focus the detail on a specific area and suggest the rest of the form with a different line. Capturing the detail using a fine liner I have suggested the complexity of the surface texture, I have represented the shapes the clay took having hit the mould and the depth of the crevices and caves.  through using colour and a thicker line I have distinguished the object shape away from its texture, this was important in order for the sketch to be successful in depicting the object as a whole and not just a texture.

 

I found this sketch rather challenging as its complexity in depth on the surface distracted my eye away from the item as a whole. The detail that I imitated was not exactly how I saw it, I found it very hard to focus and draw precisely as there was just so much to look at. Forgiving myself for the slight inaccuracies allowed me to loosen up in my other sketches. I feel that this is important whilst developing skills for it frees your arm up in the process of sketching and stops your mind from idealising a direct likeness. Although the plaster mould process wasn’t successful I feel that I have made it a success y changing my perspective of what I wanted from this process. I will carry these ideas with me throughout the duration of this project and hopefully to my practice.

Process: Plaster outcome

Having thrown the clay into the plaster mould and reinforced the form with coils the clay has dried and is ready to release from the mould.

Here is a short clip of the mortar.

 

After releasing the clay from the mould I noticed the texture left from the clay. Although I do not like the new texture on the mortar I did like the pattern left from this process. This has not been a failure in my eyes as I have learnt more about the way that clay works and the beauty left behind by it.

 

Process:Plaster Mould Throwing

 

Finally, the plaster mould is dry and ready to use. I have planned on using this plaster mould in a process I’m dubbing Plaster Mould Throwing. This technique requires me to literally throw bits of clay into the mould so that it creates a rock/pebble effect. I have documented the process in the video above. As you can see the process is rather unpredictable and a bit messy. Also, trying to set up my phone to video this process propped up on some spray can lids was not a great idea.

As the video shows, I first had to smooth a layer of clay over the grinding surface of the mortar, this will allow a friction free surface allowing the grinding process to obe efficient and void contamination. During this process it’s vital to move quickly as he plaster will draw out moisture from the clay immediately, meaning that there is a risk of the clay drying before you have finished making the form.

The next step in the process is to throw small ball like shapes into the mould, aiming at the external ‘walls’ of the mortar. Gradually aiming the balls further up the mould, creating an even texture across the form. In order to secure and stabilise the mortar the process calls for reinforcing the walls with coils of clay, these must be laid on top of the balls and integrated into the small amounts of clay. This will ensure that all the clay has bonded and will be stable and not crumble when dry. Filling the rest of the mould with coils makes the form solid, however, if the form is too thick there is a risk of cracking or even exploding in the kiln. To try cut back the density of the clay I have made an indentation in the form, hopefully this will help lower the risks of cracking. This is depicted below.

 

The form is ready so it’s time to set the mould aside and allow it a significant drying time due to the volume of clay inside and the size of the mould. I will now place the mould in the drying cupboard which is heated to aid drying times.

 

Process: Bisque Firing

Having never worked in Ceramics before I had no idea how to bisque fire, by that I mean I didn’t know how to book the kiln, load a kiln or monitor it. My solution for this was to share knowledge e.g. ask a friend. I love the studio space that we work in as it really helps us students share knowledge and ideas. The studio space allowed me to feel comfortable and form friendships in a working/learning environment. To solve my issue I asked my friend Rhi if I could share a kiln with her and if she could let me shadow her during this process. She kindly agreed and from this experience I felt confident enough to attempt a firing myself.  However, the first firing that we attempted ended is disaster and my bowl exploded in the kiln, so here’s an image from the second attempt. The reason for the explosion was that the clay was still wet as it was a very thick form.

 

Process: Plaster Mould

I decided to trey a new technique for making my mortar, the plan was to make an initial mortar then make a mould of it so that I could use the mould to throw clay in to make a rocky/pebble effect. I wanted to use this technique to try and use an unpredictable random way of creating surface texture.

 

The initial mortar ready to make a mould of.

 

Having poured the plaster and left it to cure I have turned it upside down ( now the correct way) and placed it in the drying cupboard. Here is the mold mid way through the drying process.

 

Since the mould has now dried and the moisture from the clay is removed the clay has shrunk leaving a gap between itself and the plaser.

 

 

The dry clay has now been removed effortlessly from the mould, the shrinkage allowed an easy departure. The mould has now been cleaned and is ready for the new process.

 

 

Initial Research Into Ink Ingredients

Having done some initial research online about Inkmaking and the materials used  I have come across suggestions of these materials.

Although I do not intend to make ink in this project I want to be aware of them so that if I do come across them I can collect them for future use. Based of this research Ink Making seems to me a fairly easy technique using fairly easily found materials. However, the success of these recipes and ingredients can only be guessed. As these materials are rarely used in modern, commercial ink recipes they come across as more of a holistic approach to ink in comparison to the highly pigmented inks available now. Whilst theorising using these materials I also expect an ephemeral result. The likelihood that these inks will fade is high, I need to research more in depth into ink recipes.

The excitement that  I feel at the prospect of making ink really pushes me forward with this project. My ideal practice would be to use ethical and sustainable materials in my work, if these materials are unavailable to me due to financial restrictions or general availability then why can’t I make them myself?