erica.jolene

Assignment 7 & 8 - Ceramics Undercover

My fascination with the act of sewing and the sewing machine itself runs inherently deep into the realms of my childhood, my upbringing, and the basis of how I place value on material “things” in my life. Throughout the past few months I have been exploring and studying the act of stitching into the ceramic material and form.  Through this exploration, I found myself challenged and stumped. Often at times I found myself wishing the process were as simple as sewing into fabric, without planning your holes to thread in advance and always having the ability to rip a stitch and start all over with a clean slate.

Assignment 9 & 10 - Found Ceramic Object - Re-Purposed

The above pictured mugs and plate were discovered while roaming aimlessly through the aisles of Goodwill. “Made in the USA” can be seen on the bottom of the mugs indicating that these were a set amongst many of the same, which were mass-produced at one point in time. These functional pieces were originally plain on the exterior.

The history of this plate and these mugs are unknown, leaving much to my own imagination.  I enjoyed the idea that these once belonged to a sweet older lady who enjoyed staying warm with memories of the finer times in her life, a time when machines only ran by the hand of the human and milk was delivered to her doorstep.

Assignment 5 & 6 - Ceramic + Other

Images 1-2: Stoneware, Celadon Glaze, Cotton Fiber

Through the progression of this specific project, I was influenced by idea of Pangaea like forms, focusing on the process of manipulating one form to fit within the other while remaining two completely separate forms.  Each ceramic form has been pushed or pulled, manipulated in such a way so that they are rendered non-functional and communicate a fluid action of being manipulated together, as one. 

The use of cotton fiber strung between the two forms communicates a relationship between the two forms. Intentionally leaving the interpretation to the viewer, yet providing a visual narrative to the relationships between the forms at play. Is one pushing or pulling the other? Is one grounded while the other is pulling away?

Assignment 3 - Material Based Ceramic Art - Linda Swanson

Images 1-4: Osmosgenesis II, 2012, bentonite, water, nylon, metal wood

“In spite of our ability to explain the natural world, there is still a certain mystery to how matter changes form, seeming at first to be one thing, then becoming another. Light things become dark, soft things become hard, solid things begin to flow. Such transformations open onto questions of our own being and becoming and how we find ourselves in a world of flux. Seeing simple mysteries of matter in the elements of earth, water and fire, may remind us that the universe is an amazing place, a source of wonder. “  -Linda Swanson

In the work titled Osmogenesis II, Linda Swanson explores the raw and vulnerable nature of clay through it’s physical reaction and relationship with water, air, and time.  Osmogenesis II, in my personal opinion, is the best and most carefully executed example of the concept material-based ceramic art. 

This work provides the viewer a direct experience with the transformative process that clay experiences when exposed to elements such as water, air, and time.  The concept of “time” is the more elusive variable within this piece. This work is constantly evolving and transforming, for even when the water has dripped dry, the eroded clay formation begins to transform as it’s exposure to air causes it dry over a period of time, becoming vulnerable to cracks and fractures the work continues to evolve in appearance.

Assignment 4 - Media based Ceramic Art

Image 1-2: Look Into My Mind, 2001, porcelain & glass, decal images on interior

“The viewer must make a decision to either follow his curiosity and pip into the designated opening, or to ignore it.” -Marek Cecula

Marek Cecula’s work “Look Into My Mind” is a media based approach to breaking the concept of ceramic art as one of being based solely in form and function. While the form suggests to the viewer that there is more to the work than what can simply be viewed from outside, it invites the viewer to peek into the work.  Through the use of decaled images, the viewer is provided a rare glimpse into the “mind of the artist.”

Image 3-4: The Porcelain Carpet, 2002, 576 industrial porcelain plates & digital decals

"The manufacture of carpets and ceramics has many common ingredients. Both are hand and mechanically produced, both require skill and craftsmanship, both contribute to our sense of esthetics and utility. Their surfaces are decorative and utilitarian at the same time and both represent the cultural importance of decorative ornamentation of the utilitarian necessity. The similarities and contrasts of these noble domestic objects, their eastern origins and the traditional status make them a potent and an appropriate subject for contemporary art explorations." - Marek Cecula

Assignment 2

Assigment 1

Solar Pyroshere - 1992 by Clayton Bailey, Stoneware ceramic with glass lens, 30’ diameter, 2” x 12” wood plank

"The Pyrosphere is a solar data gathering instrument which records sunlight as a burned line in a 2" X 12" board" 

"It has been suggested that the pyrosphere could also be used as solar fired salmon smoker.  In addition, a Pyrosphere could be utilized as a solar camera, because a tree or other large object, when standing in front of the lens, leaves its unburned shadow image on the plank. However, it takes six months for the entire image to appear, and the exposure must begin on the solstice."

The industrial facade of this piece, combined with the allure of it’s antique magical wonder leaves me wishing that I had known of this piece about 15-20 yrs ago, for it would have the most convincing of evidence for many of the theories I was developing during my childhood. How I longed for such inventions to exist on a small scale…seemingly safe enough to be trusted in the hands of a child, but of course when under the supervision of parents. 

Assignment 1

Ceramic Guns for Urban Shooting! Available now from Bailey Arms Co.

Clayton Bailey, Gangster Gun, high-fired porcelain, gunmetal glaze, 6”

"Many of the victims of urban shootings are shot accidentally because criminals are very poor shots. These ceramic guns can be given to criminals for target practice.

Most guns are dangerous because they can shoot any direction. The Gangster target pistol for urban shooting shoots only one direction, backwards, at the shooter:  One shot from these guns promises to do the job of eliminating the criminal element from the streets.

This is only kind of gun to shoot in the city, and it is now available from this web site.”

While this particular subject matter may be at the forefront of today’s heaviest debates, Clayton Bailey, founder of Bailey Arms Co., has just the product that we have all been waiting for!  Why not allow natural selection to do what is does best? Perhaps the debate we will be seeing now is whether or not the purchaser of this firearm should have to undergo a background check and withstand the state enforced waiting period before being allowed to use this device for it’s intended purpose???

Assignment 1 Black Magic Wizard Bottle- 1991 by Clayton Baily, Stoneware, Glass, Brass, Wood, Silica Crystal, 44” x 20”

"Radiation from the visible portion of the electromagnetic spectrum passes through the crystal, and is converted into "crystal power" by the vibrations of the crystal lattice. This energy is collected and trapped inside the Black Magic Wizard Bottle.

Objects placed temporarily inside the jug become charged with this crystal power. This type of energy is known for its curative effects, and is used by many for healing and achieving good fortune.”