Vortex
2013
400cm (width) × x 400cm (depth) x 60cm (height)
400cm (width) × x 400cm (depth) x 60cm (height)
Concept & Design
How do you start working on a new project? Does it follow as an extension of the previous one like a variation on a theme, or is it a new beginning? A bit of both?
As soon as work for the Stations of the Cross was finished I had to refocus and start considering work for 30th Sculpture Survey at Gomboc Gallery. Outdoor work in public space. How do I create clay work that is large and sturdy enough to stand in the environment, meaningful and engaging - in very little time left after the full timetable of teaching? Timelines and deadlines are words my students hear often when planning exhibition work. We clayworkers know that some processes like drying and firing can’t be hurried and take days and weeks...and results are not always what we hope for.
When I start thinking about new project (I call it germination stage) I flood my mind with images and ideas from all sources. I am in alert and aware state of mind and open to visual stimuli. Everything becomes potential source of inspiration.
I was thinking of creating a work which emerges from the ground, when I stumbled upon a small book of patterns called Kaleidometrics by Sheilah Shaw.
As soon as work for the Stations of the Cross was finished I had to refocus and start considering work for 30th Sculpture Survey at Gomboc Gallery. Outdoor work in public space. How do I create clay work that is large and sturdy enough to stand in the environment, meaningful and engaging - in very little time left after the full timetable of teaching? Timelines and deadlines are words my students hear often when planning exhibition work. We clayworkers know that some processes like drying and firing can’t be hurried and take days and weeks...and results are not always what we hope for.
When I start thinking about new project (I call it germination stage) I flood my mind with images and ideas from all sources. I am in alert and aware state of mind and open to visual stimuli. Everything becomes potential source of inspiration.
I was thinking of creating a work which emerges from the ground, when I stumbled upon a small book of patterns called Kaleidometrics by Sheilah Shaw.
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I used relatively coarse handbuilding clay and covered it with porcelain slip, for whiteness and texture. I love using slip that way, although the process is quite messy.
In order to make forms sturdier,safer and easier to install I have filled them with aerated concrete and inserted the plastic tube in the middle. I intend to hammer a steal rod into the ground and slide the form on top. |
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It is really important to consider and design installation systems while making forms, as it saves lots of hustle and retro-fitting later.
If the permanent installation is in the public space I can glue the rod in the form and concrete it under the ground level so the pieces of the sculpture can't be easily removed.
If the permanent installation is in the public space I can glue the rod in the form and concrete it under the ground level so the pieces of the sculpture can't be easily removed.