Category Archives: Final Major Project CATS Level 3/4 Foundation Course.

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Foundation Course.

Foundation Course

For this section I have explored various sources of media and materials. While being on the Foundation Course I have taken advantage of different opportunities to incorporate in to my ceramic specialism, I have explored a Lino Cut project which will be exhibited in Hull College and some donations to the college and charity based learning which have created possibilities for exhibiting work over the 3 years which I have been at this college.

I have also explored ceramic hand building and glass work within the ceramics taster, this involved basing my theme around drugs and drug use, with no links to myself, but I wanted to outline the breakdown of the body through taking drugs.

I have also documented my trees during the end of my assessment to show the order in which the trees will be ordered in my exhibition. Throughout the Foundation Course I have explored various drawing techniques such as Life Drawing and Perspectives, this encouraged me to explore drawing techniques as I have not been able to draw well in the past but having come on to the Foundation Course it has opened many doors and possibilities for my future experiences.

The Lino Cut Print I explored through observation work linking to my first project within the ceramic specialism which was themed around the ‘Wild’ and ‘Tamed’ to show the exploration of coast and flowers.

I have gained various skills over the 4 tasters, these being Photography, Fine Art, Ceramics and Illustration, combining a more handmade feel but also commercial within the different areas of focusing around my much loved abstract style.

London 2013 introduced my exploration into various artists, exhibitions and galleries, involving different styles and educational techniques. I saw many artists work which have influenced me over my Foundation Course and Specialism. Whilst visiting London the busy atmosphere and how the galleries had been set out was a good influence for me and gave it that artisan feel.

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Portfolio Conclusion.

Conclusion

 

In conclusion to my work and experience during the Ceramics Specialism, I have gained a lot of skills and techniques in order to perfect my work. From the first project you can see the gradual changes to my work leading up to my Final Major Project, therefore, highlighting a more in depth structure which sustains meaning and personal elements.

From the first project this was a project based learning, which I had undertaken to discover skills and techniques over a period of time, trying out everything possible whilst being more open to the materials. When starting the second project this changed to using different Medias and materials, while still remaining open to new ideas and techniques. Then as I got nearer to the Final Major Project I decided what worked best with my work visually and aesthetically and what suited me most as an individual.

The Skill bases and Technique processes helped me learn about what was or wasn’t needed visually, and also how to represent colour in a glass or ceramic piece.

This specialism has taught me many skills and techniques to achieve individual pieces based on my personal thoughts and ideas.

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Portfolio Final Major Project.

My Final Major Project is based on connections with the family tree through my dreams and memories making strong links towards Aboriginal family trees I decided to make a forest showing connections to each tree with a diagram result of the trees linking to each other but making them unique by the identities of my family.

The first image shows a series of abstract glass piece to be used for the top of my trees to show tree tops I used this because the edges look like branches in the wind and shows the suggestions of those trees are not a perfect form.

The second image shows a series of white clay tree tops using decals through a screen printed method which has a space in the middle of these which a leaf will be hung behind to show birth and being in a mother’s womb resembling childhood.

The third set of images show my work on the abstracted glass pieces to my abstracted leaf pieces made from glass, which are to be applied to the top of my trees.

The fourth image shows my tree forms after the firing process of being glazed, adding stains and oxides during the colouration processes.

The fifth image shows the process of my trees cooling off after being fired. You can see the twisting and winding of my trees to show abstraction and imperfection of family and trees.

The sixth image shows my decals on my leaves which I had to glaze for the decals to adhere to the leaves, this shows the narrative perspective of my dreams and memories.

The seventh set of images shows the processes of my trees subjects, from not adding the leaves to adding the leaves. The visual points to my illustrations and narratives towards my work using fishing wire so as not be visually distracting.

The eighth set of images show a series of porcelain leaves with complete with stains and oxides, and meaning towards my thought process throughout this project to resemble the delicate form of a real life leaf. I used the skills and techniques of adding imprints from collecting leaves but also drawing in to a plaster bat and lightly pressing the porcelain over the plaster bat to show the embellishment, also using the skill of drawing in to porcelain.

The ninth set of images show two series of my paintings for the exhibition which show the links to Aboriginal family trees, linking them towards my tree structures. The diagram painted shall be placed over a table top with my trees in the designated places matching to my narratives as the ‘We Come As One’ piece shall be on the wall leading up and then down to my trees as the main focus point.

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Portfolio Project 2.

Project 2 was about Hull Docks and the fishing industry within Hull. My inspirations came from visiting the museums, and during this time, creating functional organic bowls. The first image shows a wax resist piece using an anchor idea for a tester to gain imagery and narrative towards my bowls in this project.

The second image shows a piece using the same method but focusing on the fishing industry around Hull to form ideas for functional bowl pieces to be non-literal and abstracted.

The third image shows pieces inspired by the Marina in Hull focusing on the boats and how they sit visually and compositionally.

The fourth image includes waves and the sea to describe the River Humber, and inspired by visiting the Humber Bridge.

The fifth image shows a Saggar-Fire preparation using chemicals and wire to get a colourful yet sombre result linking towards narrative across the bottom of the sea.

The sixth image shows a tester Saggar-Fire piece which has been produced on a tile to see the result and to prepare it before going on to my more important pieces.

The seventh image shows a narrative piece which was based beyond the sea which has been processed for Saggar-Firing.

The eighth image shows the preparation of Saggar-Firing using wire and chemicals before putting these on to my main work.

The ninth image shows a series of three of my pieces of the outcome of my wax resist elements being fired showing the anchor and the sea connections with my boat making a strong link to Hull and the Dock industry.

The tenth image shows a series of three of my saggar-Fired pieces in connection to Hull Docks and the fishing industry including my tester Saggar-Fired piece. This shows the intensity of colourations darkened and lightened depending on the temperature of the Kiln and how the seaweed used for firing to Saggar-Fire was laid beneath my pieces.

The eleventh image shows a series of four tiles which have slurry on them ready for Smoke-Firing the result is when you draw in to the slurry the negative space becomes darker and more intense.

The twelfth image shows a series of two bowls with narrative to Hull Docks and the fishing industry which has been glazed with added slip, stains and oxides in the colouration processes. The thirteenth image shows the series of results towards my Saggar-Fired pieces after being fired.

The fourteenth image shows a tile being moulded this has a coloured clay inlay, and also glaze, oxides and stains. Making reference to the sea through mark making and was produced using white clay.

The fifteenth image shows my final narrative bowls, a series of three bowls making reference to the sea. Through the colouration and narrative processes but also next to these is another series of bowls which shows the colouration process of adding stains in the mark making.

The sixteenth set of images shows the before and after processes of wax resist in connection to Hull traditions.

The seventeenth set of images shows the preparation of Saggar-Firing before and after images, showing the composition of the chemicals used with the wire to show intensity.

The eighteenth image shows my series of bowls for colouration and glazing purposes through experimenting in comparison to my Saggar-Firing pieces making reference to narrative.

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Portfolio Project 1.

This project is about “The Wild” and “The Tame” making links with landscape and coastal scenery and strong connections towards Burton Agnes Hall and The Wilderness Walk.

The first image I produced out of crank clay and inlay colours which I made myself. Imprinting with natural forms such as leaves, I then made solutions to hang this piece instead of using holes I inserted a ledge at the back of the clay body and added Wire on to this to be then placed as a decorative piece on a wall.

The second image shows the first processes of textures using everyday objects to look like a landscape piece, I added stains to this piece to bring out the markings and make them a visual importance to my decorative wall panel. The clay used was white clay with glaze.

The third image shows a series of three wall panels, in which I made holes at the top to enable them to be hung with string. This process was an experiment using solutions to hang pieces making them visually pleasing and not distracting. I moved further into the project to create my ledge solutions with wire because this is also stable and hidden on these three pieces. I used oxides and stains and various natural objects from Spurn Point. During my Skill and Technique process of specialising in ceramics I learnt what was needed and those that were not. My work compared to my early testers has shown great progress, using grey economy clay, keuper red clay and white clay with glaze.

I also then documented my stages of development by showing the raw body of clay in its unfired state. This suggests when transformed to the fired state, the visible differences before and after.

The fourth image at the bottom of the third page, which was made by a collaging process and then lightly pressed into the clay surface. This collage was made from materials such as card, textured cloth and metal. It was meant to represent the landscape, and was made with keuper red clay and glaze.

The fifth image shows an experiment with stains, oxides and colouration on keuper red clay. I used imprinting techniques for a single wall panel using glaze in the depth of the imprints.

The sixth image shows white clay using dark vivid colours and oxides to stain the markings. I based my ideas around landscape and coast, using the lead borax glaze to make the stains more intense.

The seventh image shows a keuper red clay body, using stains, oxides and glaze in various places to heighten the intensity. This piece was inspired by a visit to Burton Agnes Hall and Gardens.

The eighth image shows a tester glass piece, engraved with a glass engraver for the “REYTA Awards 2014”. This piece also links with coast and landscape and ties in well to this project showing why I had chosen to participate in this.

The ninth image shows the white clay body with lead borax glazing and, once fired, the addition of intense colour.

The tenth image shows the landscape piece of mark making composition, with added stains and oxides to initiate the process of colouration development and making strong links to colour process mark making skills and glazing techniques.

The eleventh image shows my stained glass piece which I worked on for 5 weeks. This was a basic stained glass course within my ceramic project.

The twelfth and thirteenth image shows my “REYTA Award” heads which I designed, and the following image is the template used.