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.
Three days of intensive of drawing in order to address the theme of different ranges in the whole collection has brought up three ranges, flow, structure and support, using three colours, blue, red and green respectively
All the colours were chosen in part for their metaphysical meaning. Blue, for communication (throat chakra), red for the mulhadara – root of all support, and green for the heart, the structure of how we enter in relationship in the world.
Flow is my range; no work from the Coventry carers come into this. Blue also because it comes from Unit 10 colour uses.
Red: support. The imagery that was explained to me by the Carers was that red represented weddings. This is a material commitment between two people to support each other over a lifetime. Therefore red.
Green: structure. The carers were heavily influenced by the natural environment in their image-making. The primary imagery that came from the workshops was gardening and the sun.
This green highly stylized flower was very striking for it’s structure and seemed to represent the formality of a garden, hence it’s association with ‘structure’.
This is an important cup. In laying on the sun decal today I suddenly saw my own place in the process of this project; it made me smile to myself.
1. Foundation laid by me (green/white enamel on a manufactured body)
2. Event/relationship (sun transfers from the workshop consultation)
3. Tableau (this layer is not shown here but will be illustrations of my own making).
More echos but at the same time memory and celebration. Private memory and subtle body. Clarity in the surface, in the fixed image. A vision that sets a scene to stand the test of time.
It also echos a strongly held facet of my personal philosophy; nobody can realise your vision for you but nothing worth doing is EVER done alone. Curious.
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.
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.
Another bloom, but more lotus like than the others already posted. It is clear that there is a heavy emphasis on banding between borders in the visual culture that I engaged with last week. This is not something that I would say is in Western visual culture, at least not any more. There are instances in the V&A tiles that I found during my research trips and in the lead up to the workshops.
The continuity of this imagery is striking and makes for highly stylised motif.
Lots of flowers! The simplicity of the flower on red belies it’s sophistication and the fact that it is depicted in a pot compares symbolically with the pink and blue blooms of the first image, that apparently emerge from the bottom right hand corner of the page.
My intention was to generate highly textured drawings and this worked because I was careful to choose appropriate papers and media for participants to use. These particular images are of oil pastels on linen paper and have a vibrancy that will transfer well to a pot.
I had no knowledge of the experience of my participants in drawing prior to the workshop and many of them had not put pen to paper since leaving school. They were full of anxiety about the blank page and had brought many photos that they wanted to reproduce. This was UNREALISTIC both in skill levels and in the time we had available. To convey that I wanted them to express their feelings about caring for others it was necessary for me to break it down to three elements, COLOUR, SHAPE, TEXTURE.
What colour is the feeling you have when you look at this photo?
What shape is the feeling you have when you look at this photo?
What texture is the feeling you have when you look at this photo?
It is clear that we were all learning! This is the mark of a successful workshop? 🙂
Of course some of them just would not or could not do it for very good personal reasons I think. They used it as an opportunity to explore new materials and ask me lots of questions about ceramics and my story! Good all round then.