I have been working on fine-tuning my technique for creating three-dimensional, air- and light-filled forms straddling ceramics and sculpture, i.e. creating fired clay pieces using ceramicist hand-building techniques whilst holding to sculpture's principles and language of form. I am combining the (Gutai inspired) principles of artist / material interactions with the concept of form finding, i.e. letting the form shape itself; working in partnership with the material, homing in on the properties and behaviour of the material - clay - and so calling form into existence. (See the posts dated 21 and 26 August 2012 and 24 September 2012 for further insight into Gutai)
This is the third form, achieving the 3-dimensionality I am seeking (below are 1 and 2, which illustrate the progression during the fine-tuning of the technique. These started out simply as forms about flow [as per the previous post], but gradually became part of a process towards greater 3-dimensionality): as yet unfired
1: fired
and 2: as yet unfired
And another 'form-finding' piece, which will become part of an installation about negative space - or at least that's the plan at the moment. This form came about through pure chance, which will be the founding principle of the installation (to be explained further in due course): as yet unfired
And a möbius strip, which I made as part of the work towards perfecting my understanding of form for use in my form-finding work. 'Simplicity is very complicated'- see posts dated December 2010:
also unfired as yet
