Combined Forms

Very excited to be working with Brendan Adams again this year to build on what I learned from the plaster mould making module last year. This year we were asked what it was that we would like to concentrate on during our time with Brendan. My first thoughts were to focus on functional ware and decoration (still eating off Kmart cheapies), as Brendan has an amazing skill at adding small quirky details to his work (either drawn or embossed) that elevates the piece from ‘cup’ to ‘cup with small quirky details’. Brendan’s sense of humour often finds its way into his work, which is something that very much appeals to me also. However, after some discussion, my focus over the next module will be on bringing thrown forms and moulded forms together. Still holding on to the desire to eat from my own noodle bowl, I did think about how I might combine the two in an interesting way, while maintaining function, including stacking etc. Didn’t take too long to head back towards thoughts of sculptural forms, and so the journey begins. The images below are from Day 1, where I am attempting to make cylinders of the same diameter, which can then be stacked to form taller vertical structures, to which I might attach moulded forms.

I was hoping that in spending time with Brendan again, I might witness his creative process from start to finish. I could then apply it in a way that might help to smooth out some of the stop start backwards and forwardsings of my current approach. However, this was not to be. APPARENTLY these things don’t often follow a straight line? Sometimes the idea drives the process with an outcome that may have been decided before even reaching for the clay. Most often, the process of making and experimenting with form, is combined with a scattering of ideas, with the two coming together at some point to give direction and intention to the resulting work. Sometimes, having too much focus on the concept or idea, can limit the experimentation and the possibilities that come from a more open-ended approach to the making. With this in mind, my cylinder stack with wings was born. So where to from here? Having had a sneak peak at my work so far this year, Brendan suggested I take a look at the work of Viola Frey, as she allowed the connections between the stacked pieces of her constructions to show. This is some of her incredible work below.

What was Brendan thinking by showing me work of such scale, technical complexity and colour? The incredible accomplishments of experienced ceramic artists do indeed inspire, but equally result in my quailing in the corner at the realisation of what it must have taken to reach the level at which these artists operate. Pulling myself back together, and armed with both inspiration, a good dollop of pragmatism, and a pencil and paper, my research continued. The images below came from thinking about the basic cylinder stack and how I might use this. The most obvious reference for me came from my life in Titirangi, surrounded by Kauri and Nikau. Images of Colin McCahon’s and Dean Buchanan’s painterly responses to the same environment have come to settle in my thoughts, as has Ian Scott’s treatment of the Kauri in his Nine Happy Kauri Trees, April, 1773, 1968.

Brendan suggested that I should put some pencil to paper and see what comes from this, avoiding where possible the urge to settle on a specific idea too soon. What has come from this at this stage is the building of a kauri tree, using thrown cylinders for the trunk, and a drop or press mould to form stylised versions of the frangipani flower from my tattoo to serve as foliage (perhaps another self-portrait on its way). A couple of drawings below.

Caught up with Penny Ericson with workbook in tow (Penny is a fantastic sounding board when I am struggling to bring an idea together and she has a sixth sense when it comes to knowing the potential difficulties likely to be encountered by certain concepts and builds and the questions I should be asking myself). Having thought thru some obvious challenges, Penny suggested (as she often does) that the construction of a maquette might help to reveal design opportunities, together with some of the challenges that do not present themselves until you are well into construction (often with your hands full and help just beyond your reach). Marquette I below has given me a sense of proportion and a general idea about how the structure might look as I proceed with the project.

Time to scale up. Dimensions have doubled. The images that follow show the construction of parts yet to be connected. There is some potential for the weight of the larger foliage pieces to prove too heavy for the thin branches I have made. When considering Marquette II, I decided to create seperate trunk rings (as will be the case with the final construction that will include thrown cylinders stacked to form a taller work) although I have used slabs this time. It has been interesting to experience how your mind wanders when you are building some of the more repetitive pieces, giving flight to potential further development ideas that may enhance the original concept of the work (coming from my initial research into artists responding to the Kauri). In my case, the Kauri idea has found its way back to Titirangi with more certainty, and now I intend to reference the artists and landmarks of that place, including aspects of my connection with Titirangi, the place of my birth.

Foliage referencing my frangipani tattoo symbolism

Spent most of the morning holding my breath as I attempted to attach the delicate foliage pieces to the top section of the Kauri tree. Not too bad. Have taken another step towards whatever comes next for this endeavour. Not sure whether I like the rounded form at the top yet or prefer the more brutalist look (not sure if that is the best way to describe it). I have learned that it is best to live with a work for a time before making any rash choices. Maquette I and II below.

Back to the Front Room Gallery and studio of Brendan Adams this week, with Penny Ericson joining us on our mould making odyssey. While fellow student Terry continued on with the construction of a large kete press mould, and Penny constructing a slip caste mould of her pet rock (well maybe not so much of the pet), I convinced Brendan to let me loose with his jigsaw. My plan today was to construct and test whether a drop mould would work for taking my Kauri foliage up scale even further. I am now at 100mm diameter for each foliage component.

With the kete mould now completed and sufficiently dry, the two halves need to be separated from the original kete (which unfortunately needed to be sacrificed for the greater good – it will live on now for as long as the mould remains intact). Not sure if you have noticed the rather dangerous looking claw hammer on the table next to the mould. Some ‘persuasion’ was required together with a little elbow grease. What I didn’t get a shot of was the mould texture but Im sure Terry will be posting some pics on her blog if you want to take a look.

Penny Ericson (top) Brendan Adams (left) Terry Bell (right)

Day 3 and I found myself back in front of the band saw at Brendan’s, cutting out another outline for a drop mould. A little bit of forwarding planning for another future exploration.

The first experimental outcome from the drop moulds below. Still have not yet settled on how I might utilise this form, other than to create simple landscape and profile forms. I really like the ‘pillow’ look and feel of the moulded shapes and can certainly see that this method will come in handy at some stage in the future.

Back to the project at hand. With the stacking and decorating of cylinders as a key component of the work I am planning to advance, Brendan agreed to give me a throwing demonstration and an example of how he adds detail to his cylindrical forms as part of the throwing process. Brendan also showed us some of his nifty home-made tools that he uses when throwing larger pieces of clay, to help him manage muscle fatigue and keep an eye on his physical wellbeing, something we all would do well to keep in mind.

A bit of a disappointing set back today as my larger kauri maquette came crashing down when I was attempting to separate the cylindrical sections of the trunk. As this build presented a number of complexities, I did stop to reconsider this project. I spoke with Brendan about my idea after showing him a photo of the maquette. One thing he did remind me of, was that clay, like any other medium, has its limitations and its unique advantages. When considering design possibilities, it is good to remind yourself of clay’s properties, and make use of these to build in a way that makes the most of them to bring not only form, but strength to the work. With this evolving exploration of process and concept, the Kauri tree is not only standing in for my identity as a first generation New Zealander, with connections to Maori as Tangata Whenua by virtue of my wider whanau and friendships only, but also signals my own sense of belonging, my Turangawaewae (place of standing). Although my ancestry goes back via the people and places of my genetic heritage, MY ‘roots’ are firmly planted in the physical and spiritual land of my birth, Aotearoa, New Zealand. With this in mind, I have decided to continue on this path. The images below show the next few steps, from thrown cylinders that fit together, to a plaster press mould to help with foliage construction, and slab forms with more connection points to add support and overall strength. Well, that is the thinking at this point.

Sometimes continuing on a certain path seems like a good idea at that time, but as you get further in to a build, you do start to wonder if that was such a good idea. I am now confronted by the difficulties posed by the ‘medium versus concept’ dichotomy. Just what are the natural limitations of clay? How far can they be pushed before clay simply won’t serve as a suitable medium for the construction of a form that exists as an imagined or drawn object? Not wanting to give up yet, I have managed to bring thrown/slab/moulded components together (with only a small number of breakages and cracks), resulting in the Kauri forms below.

With the basic construction completed, I need to give some attention to a bit of a clean up of the surfaces and joins. With some degree of fragility, this might be a slow process, but I do think this is important. Penny Ericson shared a word of caution this week, that I need to remember when I am planning to start on another complex project. In essence, Penny reminded me that work has a long journey to get to the finish line, starting from the build, to concerns surrounding the ongoing strength of the finished piece, transportation to and from multiple firings, the complexities of glazing application etc etc. What is needed now is to simplify the design elements, improve the structural integrity while maintaining the narrative.

With an ongoing thought that I might go on to construct a stronger, more simplified Kauri tree form on a larger scale, I decided to refine the original 100mm drop mould form, as I found this did not reflect the more frangipani like floral form that is incorporated into the design of my tatau. This one element is intended to bring the ‘who’ and the ‘where’ of my life experience to the piece. The audience may simply see a floral form, but it is not necessary for them to view it as I do. The first iteration of this amended mould form shows more promise, but will still need further refinement to give me the desired outcome. The images below show some experimentation, including the texturing of the pillowed petal surface with the use of sodium silicate.

With the kiln booked for today, I very carefully loaded each of my Kauri tree sections into the car one section at a time (with Karanne doing her best to apply a steadying hand) as we made each of the three trips up to the Waiheke Community Gallery. With two mostly successful trips, the third time was not quite a charm. Bugger!!! The top section of Turangawaewae succumbed to a section of the ever present road works between my house and the kiln shed. Once again I am reminded of the importance of designing for strength as well as aesthetic considerations due to the nature of the medium we work with. Must also prioritise the gas connection to my own kiln for work that may again be too fragile, in its greenware state, for the car ride.