The question I have really is about the relative completeness of the flower, especially on the mug. I am concerned that the flower looks too abstracted but also looks as if it is emerging from underneath the red. The red is an inglaze and the flower is a transfer that sits on top of the glaze. I also don’t know whether I like this in relation to the narrative of bringing the act of care to the surface. What do you think?
The only problem with the mug is that the flower is far too big to use whole. I could partially obscure the plate to make it similar to the mug and play with the bowl to find a similar effect.
The plate is also not conventional in that it’s centre is decorated but I don’t think I can loose the centre pattern and keep the feel of the pink strokes.
I am considering adding gold luster to this range as a simple band around the bowl and plate and down the handle of the mug.
Decisions about which shapes to include in the three ranges. The following thinking…
Red (support). Plate, bowl and mug
Green (structure). Teapot, cup and saucer, tea plate, bowl, dinner plate
Blue (flow). Teapot, cup and saucer and tea plate
These are for reasons of convention as much as concept. The red range is a foundation set that can be split or bought as one. Mugs are more likely to be bought separately as well as for reasons of function and cost so the fundamentals of living are a mug, a bowl and a plate. A tea plate, for example, doesn’t really enter the consciousness here!
Green is all inclusive. Something pastoral and not a primary colour so it enters the every day more easily in ceramics.
Blue (my voice). It is the colour of banking ‘uniform’, if only in navy blue. There is a coolness and elegance about the colour blue that means it would be more of a leisurely usage; a more established household and a likely afternoon (loose leaf) tea taker.
MARKET LOCATION: these need to be aimed at the luxury designer-maker buyer. The complexity of the development (workshops and distillation) necessitates a slightly higher price bracket but the design quality needs to be high so that the role of design to ‘make life better for people’ actually happens THROUGH the concept of celebrating the work of carers.
Collect 2013. Laura Ellen Bacon was presenting in the Project Space this year and as soon as I saw her piece it revealed another echo in my project; layers.
The density of the layers that she shows with the the weave she uses has been internalised, ‘joggled about’ and cooked up to produce the notion of layers in my interpretation of surface. It really struck me. The impact of those two weeks was acutely felt in that simple revisiting.
It PROVES how very sensitive we are to our environments and the longevity and complexity involved in the process of embodiment that making reveals.
The choice of shape is practical. As few complex curves as possible makes the application of transfers much less demanding. The choice of bone china over porcelain is personal. There could be some technical gloss put over it in terms of it’s advantages in taking on enamels and transfers, but honestly? The answer is deeply personal.
It echoes me. As close to taste as you can get in terms of sensation. It is a healing echo because it makes sense to me in it’s innate materiality. The English body, reinvented out of necessity to survive (porcelain competition from China), turns out a altogether stronger body. Good old Wedgwood. The drive forward cooked up in a recipe with intention and redefined.
This brings up all sorts of questions about being ‘made’, ‘man-made’ and to what extent we are all these things. Mine is just a really extreme example but the same questions apply to all of us in our most anxious moments. So,what you can’t answer or were never consulted about you just accept, but Wedgwood, he had a question to answer, just like I did. We both answere(d) it in our own way.
Of course the projection and echo back to me is the healing element that I hold dear and that is there for every artist who uses clay, distasteful as it may be to some of them who hide it in technical jargon. Whatever floats your boat; you can’t kid everybody all the time though. Withhold if you like. It’s a personal thing, as I said.
This a question that has yet to be answered. It is something that now I am considering how to present this work must be formalised in writing. The peripateticism of my approach to my work is significant. I literally, ‘go for a walk’ and see what I find. This takes quite a leap of faith but it also always serves to re-validate itself as a means of beginning a project, and in the same breathe, of demonstration of the resourcefulness and abundance that pervades the whole of life!
There are a number of things about Coventry that are of interest to me. The industrial revolution saw it as the centre of ribbon manufacturing and Alfred Herbert founded the Herbert Gallery and Museum on the wealth of his tool-making business. Historically it is the centre of transportation in the UK. The Asian population were economic migrants in the 1950s who were attracted to the automotive industry there. It is a place of transition, therefore. It was completely re-built in post-war modernist idealism and for all it’s failings (the predominance of concrete being one) the spirit of ‘PEACE AND RECONCILIATION’ that emerged from the disaster of WWII pervades the place.
Geologically it sits on the same type of bedrock as Stoke on Trent. It is also shaped like a bowl geologically. The ring road acts as a kind of safe rim to the city; you can never really get lost. Yes, the heart is a shopping centre, dominated by concrete but there is a municipal kindness and an overwhelming sense of unity in the place that sustains it. I realise from this response that I am acutely sensitive to the heart of a place and I find fragmentation very destructive. Perhaps this is the reason for my reaction to the Kings Cross development.
The Cathedral. It is full of art. Even it’s stained glass windows were a major commission for contemporary artists. It has an international reputation for unity that is lost on the national UK population and it manages a sense of intimacy in a vast space that I cannot help but contrast with the space of the new UAL building, which is itself a whole other type of cathedral!
Comparison over, the discovery of unity and strength of purpose in the place is supported by the people I found there. It touches me because they are open and honest about their work and honesty is something I value above nearly all things. As makers we hold the tools to forward motion, towards improvement and progress. Discovery of Coventry has been a very important one in the synthesis of my learning at this stage of the degree.
I need to speak to Uma about the regional density of family carers in Coventry compared to the rest of the country as it seems like a very densely packed region for carers (45 in the one group that I am working with alone). She will know where to look I am sure.
Not the best photos but the idea of layering up theses images. It’s akin to the making of an oil painting I suppose. My use of transparency is my main focus though. The stories of my observations of the social gatherings on my travels lately. This scene is from the South Bank Centre. I think a third layer (the number of balance) would be good – perhaps picking out highlights of the sandy sea in gold lustre?
Coventry carers garden project.
An excellent and productive meeting in Coventry today. The above image is an example of the work that the Coventry Carers charity encourage. Social inclusion is the key. Uma Sharma, the development manager at the charity was very enthusiastic about my idea and we have confirmed workshops for this Friday, 26 April and 10 May, in groups of 10.
So, meeting with IP lawyer tomorrow is perfect timing. Just need to finalise the details of the workshop plan and gather some final materials.