Strata of Infrastructure Tryptic Abandoned or neglected structures are also a form of pollution. The sides of old buildings are riddled with filled in windows and doors and often have paint peeling away to reveal former layers of industrial strata forming deposits of structure and disorder. These remnants of layers are the origin of place and without them how do we define location and identity? What happens when what you identify with ceases to exist or becomes something else entirely, the object or the person itself taking on a whole new meaning or association? The answer to this question is as dense as the layers of decay in an abandoned house or factory.
Advances in technology make for an increasingly complex world. The future builds on the past and with solutions come new problems, restarting the cycle of awareness and change. Contamination of the water supply is a daily, often hourly occurrence. The Earth as the Erlenmeyer Flask series is a continuation of research on water contamination. Herbicides, pesticides, biocides, and drugs can never be completely filtered out of the water supply and will always have a presence as residuum. These contaminants are constantly mixing within the earth, making the earth comparable to the Erlenmeyer Flask. The raw earth toned pinched clay tops symbolize man’s molding of the earth and are contrasted with the clear glossy water like glaze that appears to be contaminated by a leaching substance from above. A variety of perspectives on the Earth as the Erlenmeyer Flask series.
Project/ Series 3 Celebration: Make 3 orchid containers out of Linda’s PPC, fire to cone 6 oxidation in the electric kiln, and then 04. Each orchid container will have a tray for catching water. These objects celebrate and aid in the process of keeping orchids. The vessels themselves are reminiscent of abandoned and decaying structures and the addition of orchids symbolizes nature reclaiming these structures. Image on right shows the containers waiting to bisque.
Project/Series 3 Independent: Make 3 vessels with multiple openings for displaying flowers out of Linda’S PPC, fire to cone 6 oxidation in the electric kiln, and then 04. Research Dutch still life painting and the symbolism of objects within these paintings. Choose objects that we use today to make a still life that revolves around a theme and will be understood by a contemporary audience. These objects may be applied to the ceramic vessels as actual objects on the vessels, through surface decoration with underglaze, glaze, or decals. Possible themes include: life, death, beauty, knowledge, contemporary religions. Image on left shows beginning form. John Williams- Rectification of Power- Power line John William’s series of works in Reflection of Power visually radiates. The pieces are rich with a vivid white and gold surfaces complimented by clean almost machined form. Williams’ thoughtful use of materials is another strong point. Combining the history and desirability of gold plated silver and porcelain is a tasteful way of adding depth to the work, making the choice in construction materials very valid. Through repetition the concept is crystal clear when the pieces are displayed together and the viewer is left with more to ponder. These objects are minimal and provide the viewer with just enough information to start a dialogue, making the work more accessible. Rectification of Power is a well thought out series of work that directly confronts the viewer. Etruscan Hydria c. 550-500 BC, from Chiusi, Tuscany, Italy. Bucchero pottery is an evolution of impasto pottery. Impasto pottery, a product of the Iron Age, was a dull gray-brown ware formed from a rough groggy clay body. Bucchero pottery replaced impasto pottery at the end of the 7th century BC. Bucchero ware was more attractive to customers than impasto ware because of the distinctive shiny black surface and wheel thrown form that Bucchero ware boasts. Bucchero forms were simply more sophisticated in appearance and process and soon became very prized possessions by consumers of the 7th to 5th centuries BC. Bucchero ware is pottery pretending to be metal ware. Not unlike today, metals such as gold and silver were considered very precious in Etruria. So, if one could not afford the real deal, why not purchase a look alike? The types of decoration more commonly found on metalwork were applied to Bucchero ware in an effort to make the pottery appear more convincing of metal materials. Some of these more common metal-working techniques or characteristics that were applied to the surface of Bucchero ware were ridged surfaces and curved over rims. The sharp lines in the form and in the surface of Bucchero pottery were also characteristic of beaten bronze. In early Bucchero pottery, engraved reliefs that were geometric or figurative in form were used for decorating the vessels. In the later forms of Bucchero pottery, heavy added or rolled reliefs were added. All these decorative styles were reminiscent of metalwork, whether it is Bucchero Sottile or Bucchero . In some cases Bucchero ware was covered in fine silver leaf to give an even more convincing appearance of true metalwork. There are only a few examples left of Bucchero pottery in the form of a vases, which have been covered with a thin layer of gold or silver leaf. This coating was meant to give the exterior a metalic appearance making them more precious. Bucchero ware was derived from Greek forms with a slight Etruscan twist being incorporated. Most Bucchero is some sort of utilitarian tableware such as drinking vessels, serving dishes for eating, or storage vessels. This was the beauty of Bucchero ware; it was made to be used.
These two pieces focus on Simazine, a pre-emergence herbicide that is used 58% percent of the time on a wide variety of crops and in hatcheries. Once introduced into the water cycle, Simazine is currently impossible to filter out completely and is a known carcinogen and health risk to humans. Simazine can provide conditions for a hearty harvest, but at what cost? These pieces were also successful in conveying the concept of the water cycle and contaminants in our water supply but in different ways. The bottle form is much more direct with the arrows literally on the clouds while the collection basket is more abstracted leaving the viewer to consider the process and what is needed in order to harvest a crop. The bottom of the forms refers to hot pads in the kitchen bringing the consumption of these contaminants into play. The bottle form refers more to an architectural structure than a drinking vessel (flask) and the cloud stopper being broken up into sections lends less towards utility. The basket handle makes the viewer aware of their interaction with the object and conveys in a literal sense the choice to continue contaminating the water supply.
Grouping of Water Cycle Flasks Advances in technology make for an increasingly complex world. The future builds on the past and with solutions come new problems, restarting the cycle of awareness and change. Contamination of the water supply is a daily, often hourly occurrence. These works provide a platform for conversation exploring the variety of contaminants in the earth’s water supply (specifically in the USA) and call into question the origins of these contaminants.
The Cycle Flasks meet the goals of creating an object that visualizes the water cycle and how and what contaminates can end up in it. The work is more approachable with the chemical formulas somewhat camouflaged within surface layers, it is not as confrontational. Relief printmaking techniques were incorporated to achieve desired surface design and layers of stains and glazes help create the dirty urban surfaces. This work is intended to make the viewer think of a leaky, weathered, and dirty environment. The layers of glazes and stains achieve this aesthetic. Using familiar symbols (toilets) and choosing to use the flask form, a drinking vessel encourages the viewer to consider their role and relationship within this process. The viewer is also rewarded from interacting with the piece, more information is revealed when the flask is picked up and finer surface textures and details are available on closer inspection. These flasks are sized appropriately to fit comfortably in the hand and to drink from which is important when wanting viewer interaction. The layered surfaces illustrate the lengthy amount of reading and research that went into conceiving the concept, research included: the water cycle, chemical compounds, herbicides, pesticides, over the counter drugs, environment contaminants, and many other veins of research related to the water cycle. From a maker standpoint these pieces were technically challenging, primarily because of the excessive amount of stamping and texturizing of the slabs. This makes the slabs unevenly thick and thin which can sometimes lead to cracking, and this was more of a challenge with the stoppers because they were sculpted, cut in half, hollowed out, and then reattached. The bases were also challenging because of the fragile shape and need for them to be flat and free of warp. John William’s series of works in Reflection of Power visually radiates. The pieces are rich with a vivid white and gold surfaces complimented by clean almost machined form. Williams’ thoughtful use of materials is another strong point. Combining the history and desirability of gold plated silver and porcelain is a tasteful way of adding depth to the work, making the choice in construction materials very valid. Through repetition the concept is crystal clear when the pieces are displayed together and the viewer is left with more to ponder. These objects are minimal and provide the viewer with just enough information to start a dialogue, making the work more accessible. Rectification of Power is a well thought out series of work that directly confronts the viewer.
During the late Neolothic the iron and copper rich Cyclades Islands were bustling with the creativity. From about 3200 BC to 2300 BC the Cycladic culture existed contributing many skilled stone, metal, and clay makers, who made well-crafted objects. The Cycladic art and its makers were well respected and revered by their contemporaries. To this day Cycladic art seems rather modern and still maintains a sense of fresh design. The occupants of the Cyclades Islands were constantly exposed to other customs, cultures, and advances in technology of the times because of their location on trade routes. It is thought that this exposure added depth to their objects and paved way for a more maturely designed object. A fine example of this is the Kernos Vase for Multiple Offerings an object probably used for flowers and food offerings to a deity. The form is composed of twenty five consistently sized small vessels in concentric rings set atop a pedestal foot. The piece is reminiscent of a contemporary tabletop centerpiece or candle holder.
The Neolithic Jomon culture of Japan led a sedentary life style from the fifth millennium to BCE to about the third millennium AD. As a culture who found sustenance through fishing, hunting, and gathering, the Jomon incorporated pottery into their lives as solution for everyday cooking and storage needs. The Jomon hand built their pottery from the bottom up with coils and no aid of a wheel. These objects are known for their herringbone surface decorations, created by pressing knotted rope that was twisted in opposite directions into the clay surface. This is also where the name Jomon is derived, meaning cord making. On what are presumed to be ritualistic forms the Jomon formed undulating and elaborate rims. This work is well thought out and visually sophisticated. The Jomon were making beautiful objects that not only met their utilitarian and ritualistic needs but were also beautiful objects. The Jomon utilitarian forms such as the Deep Vessel illustrate creative solutions for creating a functional form with the same stylistic qualities of a Jomon sculptural/ritualistic object. These are some of the same goals that I strive to meet in my work and it is fascinating to me that the Jomon makers from thousands of years ago were meeting some of the same basic needs and stipulations that the makers of today are.
View of Hong-Ling-Wee’s Installation
Multiple, unit, individual details, these and other words come to mind when looking at Hong-Ling Wee’s work. The viewer is greeted by a wall with three six shelves three shelves high containing what appear to be houses. On closer inspection the viewer is rewarded with the unique depth and attention to detail on each house. Some windows are carved others are painted and some surface areas are weathered while others are ultra-pristine. The display is a crucial component in the success of this work, giving the viewer what could be comparable to an aerial view of a neighborhood or community. Wee’s work is an excellent example of taking ceramic objects to another level, making objects that are uniquely fulfilling as an individual objects and as individual objects within a group. |
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