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Large 3-part composite vessel

Two part body with neck

Three part vessel

After spending much of the last few weeks researching and drawing I finally began to work in the ceramic studio. I have created three composite vessels  to work on which are now ready for the "drawing" stage. I have formulated multiple slips that I will be using along with underglazes, lusters, mishima and image transfer to impart meaning onto the ceramic surface. Each vessel's shape represents my family dynamic at a particular point in my life that relates to the narrative on the surface of the vessel. This personal narrative will combine the iconography that I have developed from my "family stories" with the ceramic form creating my own visual language.

Paper Clay Dress Forms

Paper Clay Dress Forms

Detail showing soldier stamp

After experimenting with different porcelain paper clay recipes I have finally found one that is plastic enough to use for handbuilding vessels.  As in my shirt forms I am using a modified dress pattern to create a dress form, these vary in sizes from 5" to 24".  I impressed stamps that I carved out of clay into the surface of the clay before building the vessel. These stamps are based on my drawings of soldiers and airmen in different poses, some are saluting some are standing a parade rest and some are in battle dress uniforms. I also used stamps I made to mimic the tracks of tanks, Humvees and armored personnel carriers.  In some areas I used the flora stamps that were in my earlier work.  These images show the work unfired, since this is paper clay about 50% of what you see will burn away in the firing. I have no idea what it will look like or what will be left after I fire them.  For right now I am leaving these unglazed I like the rawness of the clay.

Image Transfer experiments

Paper Stencil Tile #1

Paper Stencil Tile#2

Paper Stencil Tile #3

Paper Stencils on Clay Tiles

Paper stencil on clay (detail)

 I have been exploring different ways of image transfer onto a clay surface. I have been using paper stencils that I cut out from my drawings. So far these work well for a basic shape but not for detail work, plus cutting the paper is very tedious and time consuming. I have found that Tyvek paper is better  than newsprint because you can reuse the stencil multiple times. I am researching screen printing on clay this should let me put in more detail. I have done plenty of lino/wood cut and etching but very little screen printing. In fact my only experience was in 7th grade when I made my own note paper (lines and all) now that was something to see!  I wonder if I still have any,  maybe I could use it to write this residency summary that I am procrastinating on? hmmmm....

Shirts!

First two forms

Form inspired by my father's Naval service

Warrior form

The four "shirts" together

During a bit of cleaning I found a box of old clothing patterns that I've collected from the 1970's and 80's. I have wanted to incorporate these into my work for a while but had not found a way until now.  I chose to work with a child's shirt pattern from a 1970's outfit.  I made a scaled down version of the pattern to create a simple shirt form. I then added details such as collars, pockets, buttons, military service ribbons, rank insignia and armor. I wanted to give each one it's own personality and animation to the form. So far I'm up to four "shirts" and plan to keep going, eventually making some life size ones. These images are of the unfired, unglazed pieces. I am still working on how to finish them, if I want to glaze them or paint them or what but I'm not worried I'm sure it'll come to me. I plan to explore other patterns and forms such as jumpers, dresses, blouses and pants and see where it leads. This is not what I had planned from my first project after returning from the residency but I am just going to go with it!

AIB June 2012 Residency

Wall Drawing, Encaustic Monoprints, "39"

Having just returned from my last residency I am trying to digest all the feedback on my work and ideas as well as develop a plan on how to move forward this semester. I feel that I am finally moving in the right direction with my work.  The decision to return to clay is a large part of this. I am so glad that I took the advice of my previous advisor and moved out of my comfort zone by experimenting with materials I was unfamiliar with. Because of this I am now able to bring a whole new perspective to my ceramic work and I can not wait to see where this all leads!

Whitney Biennial 2012

Untitled, 2011 Kai Althoff

Untitled, 2011, Liz Deschenes

The Seasons, 1957, Lee Krasner

I was very lucky to have a chance to get down to the city and see the Whitney Biennial last month. It was an amazing experience and I have posted a few images from the exhibit. I wish I could of taken more photos but in many rooms it was not allowed. But by far my favorite part was the space dedicated to Agnes Martins large "white" paintings. I have posted a few images above for you all to enjoy!

 

Letter circles

"What is not to be"

"What is not to be", Detail

For the better part of this semester I have been using the content of a letter written to me from my Mother. This was written when I had just left home to begin my Air Force career and my mother was expressing her loss over her "little girl being all grown up" and "spreading her wings".  This letter marks a crucial turning point in both our lives. Our relationship would never be the same again. Over the subsequent years we have tried to maintain our bond but it has been tenuous at best.  This has made me realize that sometimes what is lost it can never be regained.
Using the actual letter as the material  or this work I copied, shredded, cut and formed the paper into circles then dipped these circles into wax. I joined these "letter circles" by crocheting them to each other creating a dangling web like structure. I choose to use crochet for two reasons; first because it was my mothers craft of choice when I was a child and second because she never taught me how to crochet, I learned by using tutorial internet videos. The relationship between the content of the letter and the fact that she did not pass on this traditional women's craft before I left home to make my own way in the world is a key component of this piece.