Coil, Coil, CRAZY Coil
Round and round I go, where I stop nobody knows........
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Big Idea:
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How many different types and combinations of coil shapes can I explore?
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How can I push my understanding of differing line (coil) to create an expressive final vessel design?
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How can I incorporate and embed elements of organic shapes into my design to create focal point(s) and dictate vessel shape?
These are the basics and most commonly used coil designs. Use, experiment, incorporate and expand.....take risks, bring your personal voice into your design?
Sketchbook
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Fill two pages of your sketchbook with a variety of design ideas.
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Study organic shape (observational studies, shape, form, line)
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Working with clay - try out different coil designs.
Finishing - Highlighting Texture
We will be Finishing this piece by painting underglaze on the surface and then rubbing back into the surface leaving the underglaze in all the recessed areas
Reference;
How to Make Vibrant Bursts of Color on Pottery Using Clay Slip and Ceramic Colorants
Arlene Shechet
Arlene Shechet is curious about the obscured (hidden) origins of industrial objects, she beings this interest to her production processes.
"Clay is extremely elemental. There’s nothing about it that is attractive or interesting," she says. "The lack of beauty in its raw state is important to me because it gives me great freedom. Because it has no character I can make anything. It’s just there to be invented."
Alwyn O'Brien
Alwyn O’Brien was born on Salt Spring Island, B.C. Her ceramic practice has taken her across Canada, studying at Capilano College, in Vancouver, Sheridan College of Ontario, the Nova Scotia School of Art and Design, and Emily Carr Institute of Art and Design.
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With an extensive knowledge of the history of decorative artists and a passion for the baroque, O’Brien’s objects dissect the definition of the vessel through her use of lacey hand rolled coils used in a deliberate yet chaotic way to construct volume and shape. Pinching, rolling and fingerprints show signs of the hand and connect the material to body.
The banyan tree within the Singapore context and regional mythology has a lot of symbolism.
Jason combines skilled craftsmanship in sculpting with influences from performance art. The result is ceramic pieces that go beyond being merely objects of beauty, to subjects that provoke thought and interaction with the viewer. Jason’s ceramics transcend the tradition of functionality. Earthy yet fragile, the duality in his works prompts one to ponder over the creation process, while their asymmetry provokes a rethinking of balance and symmetry.
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