4th October- Clay tile begining and experimentation
4th October
Experimentation for new project plan
(Image; own image of tiles in Lisbon, Portugal 2017)
Long term Project plan;
Within my practice, the themes of the work and the information behind each piece is just as vital as the visuality that is achieved in the craft of the work. Therefore, after last years slight disassociation between the visual work and the physical work I was contemplating how I could rejoin my practice to my writing and contextualisation. A trip to Lisbon, Portugal over the summer months provided me with this exact realisation. The city has a rich history of craft, specifically ceramic craft. During a walking tour, we were shown the historical importance of the tiling on the outer side of buildings. Although many are modern interpretations and stylisations, many still remain documenting the painstaking process of making each tile.
This started me thinking of how each tile then begins to represent a specific moment with the specific artisan artist. The making of each tile not only builds up to a greater picture but also has a chronology of the historical period in which the tiles depict. This also appealed to me as clay (can be) is a naturally occurring material. This aspect of the material appeals to me greatly as the environmental impact of using it would be minimal compared to a unsustainable plastic.
During this time I was also looking into the psychology of art and the long standing interest in aesthetically pleasing items. The idea then developed from there, as I produce very heavy political poetry and articles, my practice should act as a psychological catharsis. Therefore, when presented together, the visual aspects chronologically document the way in which my research has progressed. Therefore, on returning to uni I have begun to experiment with clay and tile making as a visual documentation and psychological representation of my research.
Experimentation for new project plan
(Image; own image of tiles in Lisbon, Portugal 2017)
Long term Project plan;
Within my practice, the themes of the work and the information behind each piece is just as vital as the visuality that is achieved in the craft of the work. Therefore, after last years slight disassociation between the visual work and the physical work I was contemplating how I could rejoin my practice to my writing and contextualisation. A trip to Lisbon, Portugal over the summer months provided me with this exact realisation. The city has a rich history of craft, specifically ceramic craft. During a walking tour, we were shown the historical importance of the tiling on the outer side of buildings. Although many are modern interpretations and stylisations, many still remain documenting the painstaking process of making each tile.
During this time I was also looking into the psychology of art and the long standing interest in aesthetically pleasing items. The idea then developed from there, as I produce very heavy political poetry and articles, my practice should act as a psychological catharsis. Therefore, when presented together, the visual aspects chronologically document the way in which my research has progressed. Therefore, on returning to uni I have begun to experiment with clay and tile making as a visual documentation and psychological representation of my research.
cathartic
kəˈθɑːtɪk/
adjective
- 1.
- providing psychological relief through the open expression of strong emotions; causing catharsis.
Clay tile experimentation
As the university does not have a kiln, I have begun to experiment with air drying clay. This not only limits the amount of power taken to produce the tiles but also keeps costs down. This therefore is a more sustainable way to produce the tiles in response to my research. The first tiles I have produced were made without planning. This was a conscious decision to limit the amount of control I had on the visual turnout of the pieces. Each tile is handmade and that within itself offers a novelty that much art is losing. The Connection with the artist who hand made the work in response to a specific time or thought.
(further reflections to follow after colouring of the clay; explaining the individual tiles chronological standing)
Practicality reflections
The air drying clay is very fibrous, this in itself began to limit how intricate I could make the designs. As I progress and become more accustomed to the material, this will hopefully improve. Further to this, ensuring all the tiles size remains uniform was already a problem even between two of the works. After reflecting on this initial frustration, I have began to believe this may not be an issue as each tile stands in its own right. Although slightly different, this adds to the handmade quality of the works and reminds the viewer of the human behind each piece. The aim within my work is to reconnect a very individualistic society, craft and miniature handmade items may endear people toward this.
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