I Theme
movement
-in terms of the way the projects are formed on the wheel – showing throwing marks
-the painted under- glazes wrap around the form in a way that shows off the way the project was made on the wheel.
Using pulled clay to make tops for teapots that resemble ribbons that are moving and curling in space.
II What
set of bowls and cups and slab plates with painted under-glazes with leaf motifs
tea-pots and pitchers with pulled ‘ribbons’ of clay for decorations
Older projects with curving lips – both thrown and soft slab
III How
soft slabs in Chinet bowls and platters with draped and fluid edges. These are painted with cobalt stain and glazed clear.
Thrown projects with throwing marks that show how the projects were pulled up. They show a history of how the projects were made.
Using pulled clay in a smaller size than one would for a handle to make ribbons of clay. These are then arranged on the lid or other parts of the project, and slipped and scored on so that they become part of the piece. These must be dried carefully so that all the parts join without cracking or coming apart.
IV Why
Although most wheel projects reflect the process of a moving wheel as opposed to the motion of the potters’ hands moving up I have chosen to emphasize this by changing the way I am painting on the projects. These leaf patterns consciously swirl around the inside of the projects and even drape a little over the edge to the outside. The soft edges of the slab projects also emphasize an edge that travels through more than one plane and therefore emphasizes movement. Finally using a combination of techniques as well pulled ribbons of clay I have added to a complicated moving form – a teapot or pitcher – objects that are meant to pour liquid – what looks like a soft and moving part of the entire form.
V Conclusion
Although I have been painting on ceramic forms for many years it is only this fall and winter that I have become aware that how the design moves around the surface will emphasize the how the project was created. I also have become more interested in and conscious of the use of pulled clay to add a sense of soft movement to projects – particularly ones like pitchers and tea-pots – these soft design elements seems to reflect the use of the pots themselves with their flowing shapes.
movement
-in terms of the way the projects are formed on the wheel – showing throwing marks
-the painted under- glazes wrap around the form in a way that shows off the way the project was made on the wheel.
Using pulled clay to make tops for teapots that resemble ribbons that are moving and curling in space.
II What
set of bowls and cups and slab plates with painted under-glazes with leaf motifs
tea-pots and pitchers with pulled ‘ribbons’ of clay for decorations
Older projects with curving lips – both thrown and soft slab
III How
soft slabs in Chinet bowls and platters with draped and fluid edges. These are painted with cobalt stain and glazed clear.
Thrown projects with throwing marks that show how the projects were pulled up. They show a history of how the projects were made.
Using pulled clay in a smaller size than one would for a handle to make ribbons of clay. These are then arranged on the lid or other parts of the project, and slipped and scored on so that they become part of the piece. These must be dried carefully so that all the parts join without cracking or coming apart.
IV Why
Although most wheel projects reflect the process of a moving wheel as opposed to the motion of the potters’ hands moving up I have chosen to emphasize this by changing the way I am painting on the projects. These leaf patterns consciously swirl around the inside of the projects and even drape a little over the edge to the outside. The soft edges of the slab projects also emphasize an edge that travels through more than one plane and therefore emphasizes movement. Finally using a combination of techniques as well pulled ribbons of clay I have added to a complicated moving form – a teapot or pitcher – objects that are meant to pour liquid – what looks like a soft and moving part of the entire form.
V Conclusion
Although I have been painting on ceramic forms for many years it is only this fall and winter that I have become aware that how the design moves around the surface will emphasize the how the project was created. I also have become more interested in and conscious of the use of pulled clay to add a sense of soft movement to projects – particularly ones like pitchers and tea-pots – these soft design elements seems to reflect the use of the pots themselves with their flowing shapes.
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