Reflection

During this unit I have been working on a larger scale and have also never used press or hump moulds before. I have learnt that you can stamp and also mono print when using a hump mould and the designs will stay intact if you get the clay at the right state. I have also learnt that if you make something with a large surface area touching the bottom of the kiln your work is more liable to crack. This can be solved by adding rings on the bottom of your plate to reduce the area touching the bottom of the kiln. Also using alumina allows your work to shrink more easily when being fired. I have also been using Copydex, Shellac and wax resist. Copydex is very effective as a resist when applying slip as it peels off easily.

Shellac and wax resist didn’t work as well as they didn’t give a clean resist and didn’t burn off in the kiln.

The top two samples below were most effective as the gold lustre compliments the blue cobalt oxide which has been trapped in the recesses of the stamped clay. I also like the effect of the clay showing through on the ridges of the stamps when applying tin matt glaze on red earthenware clay.

I like the effect created by rolling wallpaper into clay and the oxide picked up in the recesses. I have learnt that you should mask off areas with wax resist that you don't want the oxide on so you can create a clean edge.

I enjoyed layering up processes in this project for example using mono printing, stamping, glazes, gold lustre and ceramic transfers on one piece.

I have collaborated on many occasions with Stephanie and through group tutorials. I have also collaborated by reading other peoples 100 word statements to check their suitability and by buying mount board together so as not to create excess waste. Furthermore Ben and I collaborated in designing a plate stand for my biggest plate (see below).

I have engaged in contextual understanding throughout this project as I have attended all lectures by guest speakers. In doing this I found practitioners who’s context I feel is relevant to my own for example Amy Jayne Hughes. I went to Ruthin Craft Centre which is venue I would like to exhibit my work at in the future. Furthermore I visited Collect and saw many practitioners who I aspire to show my work alongside in the future (see below).

Carina Ciscato

Christabel Birbeck

Marit Tingleff

Lisa Stockham

Kina Bjorklund

After making samples I discovered I didn't like the surface quality of ivory stoneware clay when fired and felt it wasn't appropriate for my plates. I started exploring painting white, grey and blue slip onto the clay’s surface at the leather hard stage. This created a more even surface and professional finish once the clay was fired.

If I were to do this project again I would experiment with porcelain as I feel it may be more appropriate for my plates due to its delicate quality. Furthermore I would have conducted more tests rather than attempting to make large plates straight away as then I feel my plates would have achieved a more professional finish. Therefore in my third year I intend to be more thorough with my testing.

My key motivations for the future are to continue my practice in ceramics focusing mainly on surface decoration and pattern. I enjoyed experimenting with plate forms in this project however in the future I want to focus on slab building to create vessels and forms as I enjoy a more sculptural quality in my work. I will further develop my skills in slip decoration, stamping, mono printing and aspire to show my work in high end contemporary ceramic galleries. 

I considered putting coloured paper under my pieces to accentuate the colours of the glazes and so my work wasn't lost on the table in the exhibition. This coloured paper below was the best as it complimented the colours of my work.

 

I considered using stands however I decided the stand for the largest plate was too unstable.

These images show my work at the exhibition.