Figurative Modelling – Day 8

Last Thursday we had a lecture from a post graduate and winner of the British Ceramic Biennial AWARD 2015, Sam Bakewell. He works a lot with Parian clay (from Valentines) that when reduction fired turns into this beautiful marble coloured white. I found him to be very relatable and drew a lot of comparisons from myself. He also talks about art as an obsession, in which he strives for a certain level of perfection working for long periods of time on very detailed projects. However in complete contrast there’s also this unpredictability in how he works, such as the falling and drooping of the clay whiles it’s being fired but even that is still perfectly controlled.

Below are a few further notes and interesting points that I’m keen on looking at more closely, followed by some photos of his work;

  • A fault is an entrance point into a piece…that’s how you know a human made it.
  • An everyday object can become a transportation device, the kitchen table stared at everyday, day dreaming.
  • A faith object – ‘the hairball’. Making for the sake of making.
  • Poetry hidden under a surface – “Soft without will they dream”.
  • Conquest of the useless.
  • Obsession, perfection, adornment.

Later, each of our groups were able to have a one on one tutorial with Sam. It was really insightful to just talk about our work with someone outside of the loop. It gave me some clarity in figuring out what we were trying to convey. He mentioned how the drawings weren’t looking very relatable to the rest of the work at the moment, especially the ones on the left (which I had mentioned before). He also suggested that we try to incorporate the frame more and experiment with hanging in different ways.

exquisite_corpses

Christie Brown – “Exquisite Corpses” 2013

We all came back to the space on Monday (minus Ffion due to work commitments) to try and make everything a bit more cohesive. Through going back over my blog and re-reading what I have written, I found that there has been a recurring theme over the past 4 weeks that has been about playing between the 2D and 3D.
I went back to Christie Brown’s “Exquisite Corpses” and informed the group that we should be making new figures from the pieces we have but ours should be more dynamic and have some sort of life to them.

We’ve had a few breakages from the storm and had our drawings blown away but the exhibition space is looking a lot better now. However, I still feel like there is something missing…

 

 

 

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