11th January- Clay experimentation (documentation and reflection)

11th January- 

Clay experimentation 
(documentation and reflection)

This unit I have been working with the tactile material clay. This has formed my body of work mainly with deviations toward other forms and materials also. I have been contemplating the use of this material lately, it has its limitations as clay and pottery has many associations that come with it. These include the preciousness surrounding the material as well as the everyday uses. These are both things  I have mainly been using the material for its environmentally friendly properties and lack of toxic ingredients.  I was then layering the clay with a plastic based glaze style paint. This was therefore slightly ironic as it means the work is less environmentally friendly (although it does waterproof the work and protect it).  There are therefore pros and cons to using this on top of the clay. I therefore decided to experiment with other forms of colouring. I was hoping this would also show more of the sedimentary features of the clay. To do this experimentation I am using beetroot powder, I was hoping this would colour the clay is I mixed it wet. This is not what happened however, the beetroot powder did change the colour but more to a brown red. 

The darker red was a fresh layer I applied to see if it would dye the clay when applied dry. This also did not work, however the experimentation was useful to see that natural sediment and colouring is more difficult to work with in terms of vibrancy. I then considered the fact that the powder may be more effective if I made it into a paste and applied it to dry clay. (dry clay from earlier works) 

This method and colouring compared to the other, unnatural, plastic based paint  show a start difference between materials. I have enjoyed the challenges of working with the beetroot powder as colouration. When you buy a product in an art shop you can be sure of the outcome. This consumerism is also something I wanted to detach from my work. The unknown in the making and outcome of the work is something detached from society today. The planned and premeditated plans within society and rigid structures that I do not wish my work to function within.

In separate experimentation from the colouration I worked into the clay with differing items that I found around me. This can be seen in the rounder work on the bottom right. This was done when the work was halfway to being dry. This isn't something I have done before and I liked the scratched nature of the surface, the way the clay then absorbed the water changed due to the depths of the gauge. It reminded me of an open wound while it was still wet with the beetroot powder water. However, once this had dried the colour was no longer visible and the clay was a brown colour, the marks I had made were starkly different. I therefore decided to take the process further and use ink to define the marks. 

After the ink was applied and began to dry I put the entire clay work under water to remove any excess ink. This was the result. After the long process I am pleased with the outcome. Although unplanned I enjoy the contours of the work and the aged feel. The start difference between this and the past 'tiles' is progressive and offers a less luxurious feel. This therefore is deelivation of the work and removes it from the western height that art is placed upon. The questionable process of the work reflects the journey undertaken. The moving and shaping to 'fit' the desired outcome. To improve this however I could use charcoal instead of ink as it is more environmentally friendly.