Pink Tons 2009
‘Pink Tons’ is a big cube sculpture made of solid glass. The base and four sides are made with frosted glass which highlights the scratches and distortion by the casting mould, while the glass on top which was left exposed is clear. The sculpture has to be placed 1.2 meters from the wall and to be located by a window to achieve the correct lighting effect.
In the glass pieces, what fascinates me has a lot to do with the essence of something that has one appearance but is really something completely different. For example, glass is a (super-cooled) liquid, not a solid. It’s a pretty amazing thing that a material as ubiquitous as glass can masquerade like that. It’s like having a mask but the mask is identical to the real thing. (Quoted in Fundació Joan Miró 2014, p.128.)
I was initially drawn to this piece because of its scale then I was curious so understand how he achieved different textures which affected the translucency of the piece. In regards to craftsmanship, the work was manufactured by the German glass company Schott and the definition of craftsmanship is ‘the quality of design and work shown in something made by hand’ because of this I don’t think it shows much craftsmanship. This piece was definitely innovative to me, it made me think a lot about how I could develop my work in regards to slip casting and how I could use various casts to achieve different textures. I’d like to experiment with how different textures in fine porcelain allows light to travel through.
Victoria and Albert museum
Split form 1974
Peter Simpson’s work is inspired by organic forms such as pomegranates, mushrooms, poppy and seedpods. It’s made using porcelain using a hand-built technique using grey-brown glaze. I was drawn to this piece because of the delicateness of the form, it could have also been because my earlier work inspiration was predominantly inspired by organic forms. Peter’s work is sculptural and the craftsmanship is incredible, this piece definitely challenges the limitations of porcelain as a material.
Contemporary applied arts
Slip cast and glazed ceramic vessel
Sophie’s work crosses the boundaries between art, craft and design, her ceramics explore human-object interaction. Taking inspiration from the universal language of pattern, geometry, colour and the infinite, she combines multiple methods of making to create a highly refined and curious objects. Her work is pleasingly tactile; a combination of rough granular porcelain, smooth naked clay and matte blocks of colour. Her intention is to disrupt culturally embedded values and understanding of ceramics by playing with process, form and surface.
It was the vibrancy of Sophie’s work which drew me in, while taking a closer look my eyes kept shifting from the contrast of glazes, I was fascinated how much concentration it took to understand the form especially with the black glaze on top, I couldn’t tell it was inverted. Sophie’s work is sculptural but some could argue that it could form a function because of the indentation on top. There is a high amount of skill which had gone into the making of the form and the glaze in this piece, especially when you consider it’s been made out of porcelain. This work inspires me to play with the viewer’s gaze and challenge them to think more about the piece, I want them to try and depict how the work has been made.
The inspiration for her tableware comes from nature, especially the microscopic world. In aim to bring extraordinary vibes into the ordinary everyday life. She has previously researched into visually impaired people and how we feel when our hands come into contact with work. It’s an investigation to create tension, fragility and flows.
I was initially drawn to her tea set in the gallery but after researching her work, it made me think of the functionality of her work. This work is titled dinner wear but I wouldn’t consider it as being functional, especially this piece. The context behind her work does say it has a function and that she wants us to touch and feel her work, and through table ware is when we come into contact with ceramics work initially but I don’t think it serves a functional purpose for dinner wear. A huge amount of skill has gone into this work, especially in regards to the repetition. This work has definitely challenged me to consider functionality in my work.