Week 2

Tutorial feedback notes and further reflections 

change the lip on inside of teapot lid to be more pronounced, and add nodule that prevents it from falling out 

More curves generally in the form shapes,  softer edges. Thinner clay in general.  Experiment with joins, to be either intentionally obvious and cut to look like lace edges, or invisible. 

Look at antique lid knobs, attaching them to fired pieces. 

Make a sort of mould/stamp of my spare knob with antique detail.  Try making a lustre glaze.

 Use a bigger glove to make the plaster mould, cut the thumb off when the plaster is still wet. so there will be 2 lots of two piece moulds.

Talk to sculpture about using alginate to cast a sponge.

Louise Bourgeois

Following her highly acclaimed retrospective at the Museum of Modern Art in 1982, Louise Bourgeois went on a new artistic journey. In the 1990s, she delved into the creation of "Cells," an intriguing series of architectural spaces that serve as intricate microcosms, laden with profound psychological implications. Each "Cell" encompasses a distinct assortment of objects and sculptural forms, enclosed within its own unique environment. Through these installations, Bourgeois explores the realms of pain and voyeurism, delving deep into the human psyche.

During the 1940s, Bourgeois found herself raising three young boys while grappling with the challenges of being an artist and a stay-at-home mother. It is evident that this experience greatly influenced her work during that period. She chose to incorporate architectural imagery as a means to symbolically suffocate the female figure, representing her own struggle. Though the imagery may seem somewhat bleak, there is an undeniable sense of dignity in the woman's upright posture. It becomes apparent that this portrayal is a self-portrait, as Bourgeois' own long hair emerges from the house, serving as a distinct visual element.

One notable series of Bourgeois' later works is "I  Give Everything Away" from 2010. This collection of six large-scale hand-coloured etchings, were created in collaboration with publisher Benjamin Shiff shortly before Bourgeois' passing. Each etching was meticulously crafted by the artist herself at home, directly onto copper plates coated with wax. The prints were then produced from these plates on various types of paper, boasting diverse textures and tones. After the printing process, Bourgeois adorned the images with ink, watercolor, pencil, and gouache, resulting in vibrant and vivid compositions. Accompanying the striking visuals are handwritten sentences, unsteadily inscribed in pencil, almost resembling farewell notes in a sort of depressing way. Among these texts, one that stands out reads, "I am packing my bags."

In this series, Bourgeois combines powerful imagery of humans, animals, plants, and abstract forms with poignant handwritten phrases. The combination of these elements evokes a sense of introspection and contemplation, serving as a poignant reflection on mortality and the transient nature of life.

Workshop with Sharon Griffin 

Griffin's artistic practice delves into various aspects of human experience, drawing inspiration from folklore, personal stories, and the exploration of past generations. Her work delves into themes such as trauma, childhood, relationships, identity, and dreams, aiming to convey the complexities of these subjects. In her own journey of self-discovery, Griffin found that understanding her own story and acknowledging her experiences enabled her to recognise and establish connections with others.

During the talk, Griffin emphasised the significance of the act of physical making in her life, describing it as a "lifeline." She shared her artistic process, demonstrating her technique of quickly and intuitively attaching wet slabs of clay and using her hands as the primary tool to make expressive marks on the form. The resulting pieces evoke a strong sense of emotion, and they're intentionally "unfinished" quality adds to the notion that the figures are not static objects but rather living beings in their own right that the audience are able to connect with. By infusing her work with a sense of humanity and relatability, she aims to create a connection between her art and the viewer, inviting them to engage with the narrative and emotions encapsulated within each piece.

Michael Penny Gallery

Open studio

The open studio allowed me to showcase my work fro the first time, in a relaxed and informal setting, which made it easier and less daunting to connect with the "audience". It was also a good opportunity for receiving feedback,  and gaining insights into how my work is perceived. I also really enjoyed the sense of community that was created, bringing together students from different specialisms. 

Exhibiting workshop

One afternoon, we created a spontaneous group exhibition project that ended up being an exciting and inspiring project. While collaborating with people we didn't usually see from outside our studio spaces we transformed the space in Summix into a temporary gallery. We were tasked with curating a small exhibit featuring artworks from each person and linking them by subject, colour or theme. Our group, whilst discussing our thoughts came up with a completely different concept, subverting thhe traditional ideas around exhibition and gallery spaces. We used bare plinths without our work, (as opposed to our work and no plinths - which was the brief), leaning against eachother giving the impression of movement - falling like dominoes, while a soundtrack of smashing ceramics that we created plays in the background. The piece was intended to unnerve and confuse viewers while inspiring reflection on traditional, formal gallery settings. This impromptu exhibition allowed us to share our ideas with each other and the unexpected outcome felt conclusive and successful. It was a testament to the power of spontaneity and the collective energy that can emerge when artists come together to create and showcase their talents.