Tutors: Kim Binney, Mik Godley
All the sculptures ‘need’ you to touch their outer skin and that’s where ‘tactile’ comes into play. I don’t think I’ve done enough research as doing research and reading really does drain me out as that’s why I nap, late afternoon.
I didn't have any knowledge about working with clay.
My attempt working with clay and painting a smooth stone when going through rehabilitation.
Initially, I started using Plaster of Paris bandage, ModRoc; and started to create a sculpture of a man in thought sitting on a rock and after the first week I knew that I picked on the wrong subject as it was too detailed and challenging for myself.
This is as far as I would go with this piece.
When I started to work with the clay I never knew that I should have space inside each piece and to create a hole at the base to release the trapped air inside, otherwise the piece could blow out.
I thought it may be easier to work on a larger scale.
I decided to go a lot smaller after the cracked pieces and worked on hand size pieces similar to the size of paperweights.
Fabric on chair is very tactile. I tried to capture the pressure points in clay.
(This doesn't seem to work!) (More interesting pressure points!)
I tried to capture the pressure points in clay.
Continued on the small structure with knitted wire.
Thick cotton spiral shape.
The shape from a Toggle and scratched lines. Smooth ridge appears from comfort rubbing of clay.
Wool wrapped round the clay ball.
Copper wire around clay ball.
This is the shape of an Avocado fruit.
Clay gets blown out from the inside pressure.
Fired pieces done then next step is the glaze.
4 pieces for Black Glaze
3x pieces with stain before white glaze.
Finished structures in Raku & stained glaze in white and black
Knitted Wire - Raku - Copper Matt
Blow Out - Black Glaze
Copper Wire Spiral - Black Glaze
Avocado Shape - Black Glaze
Comforting rub - White Glaze
Finger Pressure Point - White Glaze
Wool Print - White Glaze
Cotton & Scratch - Stain & White Glaze
Toggle & Scratch - Stain & White Glaze
Wool Print - Stain & White Glaze
Comforting rub - Raku - Hasselle Copper Matt
Smooth Surface - Raku - 6 Bright
Knitted Wire - Raku - Copper Matt
I prepared my space for the exhibition where I cleaned the two walls and painted a plinth to place the 6 final pieces.
There was one more last thing to be done in the space area and that was to hang up the prints as I'd brought my spirit level to make sure it didn't hang up all wonky so I needed some assistance from someone taller than myself as I wouldn't be able to hang them up on my own.
I managed to get some assistance from tutors in Silversmithing and Ceramic's
The choice was Black & White pieces and after further conversations I agreed that the 6 prints look better together on one wall and the plinth would look better on its side on the floor.
All course work is named and titled for Assessors.
I never thought that in all these 53/4years I would have gone back to college as a full-time student.
The only time I ever put pencil to paper to sketch and draw was in the Silversmithing course I done part-time as a hobby in 2007/8 at Glasgow.
I've enjoyed the experience of Life Drawing classes and I now continue with Life Drawing classes with Artist John King at West Studios.
I'll still continue with the WEA Art classes by Artist/Tutor Karen Davies.
I've learned more about the shading with pencil and fine liner ink.
I've learned more about painting on an Android where I can zoom in and out to produce the smallest detail in painting.
I can see a huge improvement in what I draw now and I'd like to begin to carry a pencil & sketchbook to draw when out walking or sitting in beautiful surroundings.
Many Thanks to Chesterfield College as the Foundation Diploma in Art & Design has been a wonderful fulfilling experience.
To Be Continued........................