Wednesday, June 21, 2017

Chesterfield College - Final Major Project Evaluation

Final Major Project Evaluation
By Pauline Quinn
Theme  - TACTILE

Tutors: Kim Binney, Mik Godley


The theme for this final major project is all about the sense of touch.

****************Bibliography taken from GOOGLE*********************
The somatosensory system is the part of the sensory systemconcerned with the conscious perception of touch, pressure, pain, temperature, position, movement, and vibration, which arise from the muscles, joints, skin, and fascia.12 Jul 2013
convert into a coded form.
"using this technique makes it possible to encode and transmit recorded video information"
·         COMPUTING
convert (information or an instruction) into a particular form.
"the amount of time required to encode a wav file to mp3 format"
(of a gene) be responsible for producing (a substance or behaviour).
"this is the gene that encodes the yeast mating type proteins.

The somatosensory cortex is responsible to send messages to the brain from what you’re touching as the sensory information gives you emotional reactions and it’s usually social in nature such as the human touch.

I took a day trip to Yorkshire Sculpture Park where I saw many of the open-air sculptures. This journey was to see the sculptures created by Henry Moore, Barbara Hepworth, Peter Randall-Page and Sir Anthony Douglas Cragg, CBE, RA who have inspired me on this journey.

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.
My hands used to be busy many years ago when I was creating with wool, knitting jumpers and making jewellery in silversmithing. I now enjoy working with clay as my hands feel good trying out new things. I now spend time drawing and sketching which I’d never done before and I just wish this course would continue; but like life….it does end!
I felt that the final pieces had to be part of my own personal journey after a brain trauma. The structures brought back the pressure points on the clay to the pressure points and the blow out that the clay and brain went through.
This project has been challenging, it has changed the course from ‘Man In Thought’ as it was dealing with the brain to the spheres with the tactile touch. The clay has been very therapeutic for the sensory touch as it passes on information to the emotions and memories. There’s been many errors with the clay as I’ve been heavy handed with the thickness of the clay. I still need to do some more research into the rights and wrongs about using the chicken wire with clay and the shrinkage of the clay when left to dry and fire.
The most important piece to me is when the sphere blows out. The pressure that was put on this piece is so much like my own personal journey. My brain was under pressure and then 2 arteries blow out with a bleed. I’m very happy with all the final pieces done and one thing I like would be: ‘Doing It Again!’ and I would not change anything because ‘I Can!’

Pauline Quinn


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 also found out that the clay can crack when placed on top of the chicken wire frame.

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.


Tried to create some knitting in clay.
(It doesn't seem to look or feel like soft knitted wool!)

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.

2x more cracked testers.

                                                                          TESTER 1.


4 pieces for Black Glaze

3x RAKU colourings, Hasselle Copper Matt, Copper Matt & 6 Bright

Next is White Galze

3x pieces with stain before white glaze.

A group of pieces that are far too big and cracked clay.

Finished structures in Raku & stained glaze in white and black

Finished Glazed Hand Structures

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........................

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