Continued exploration from surface designs during lockdown and introducing urban environment influences.
Primary Research – Urban Photography:
derelict buildings erosion / peeling paint / wear and tear organic vs structured surfaces dents / structural damage / what happened? Tree that has grown through (intact) tyre. Time / age / manmade vs nature organisms growing on discarded rubbish discarded objects / rust / re-use? recycle? nature, fallen petals, organic decay organic growing over / through manmade buildings Tree pattern growing over building old signs / peeling / sun damaged discarded rubbish / covid masks / diseased environments old character buildings unfinished or being demolished / in between states surface materials: metal, concrete, wood, plastic, grass graffiti / what’s inside? old letterboxes, decay, rotting wood mould, growth, environment factors discarded rubbish making patterns and shapes moss textures over metal growing textures, flaking, organic empty buildings: past / future and present states. Curiosity shapes and lines street art old faded / peeling signs Unappealing food signage faded from sun, aged, environmental changes defaced, tagging, scratches cracks and imperfections, broken roads A lot to look at: paint, rust, chalk, sanded, chipped, smooth, dripping, colours contrast of textured moss growing over smooth paint multiple textured surfaces: faded car paint, rusted walls, carved wood, marked glass. Hand-drawn vs typed. Neat vs messy Broken contrasts and soft organic material rising through hard concrete patterns and contrast / rough and soft textures Rubbish: need for reduce/reuse/recycle Aged leather and fabrics textures and shapes Architecture: stylised brickwork faded murals building stories paint layers chipped building corners, structural damage Bold colours (painted vs natural rust colours), odd shapes same fence, multiple colours Plate of water on grass. Why is this here? out of place Unused / overgrown Mt Roskill tennis club Abandoned structures weeds reclaiming space over aged painted concrete faded tennis club hand-painted sign Historic photos of the same tennis club Old abandoned cars on a bush walking track (Coromandel – Colville) Nature ‘reclaiming’ man-made materials – moss and bush growth over peeling paint, metal, rubber and broken glass.
Secondary Research – Artist Inspiration:
Texture Play on Clay – continued experiments with traditional mark-making tools and experimental glazing:
Blunt bamboo skewer scrapings. Using end of a paintbrush to create indentations. Removing clay – working from base up. Wooden dowel partial indentations. Pinch pots – allowing for inconsistencies and irregularities, each piece has it’s own character and unique form. Finished glazed bowls using double-dip effect. The glazes were diluted further with allowed a nice textured appearance inside the debossed clay areas. Allowing for one colour glaze to dry before re-dipping into another colour When pouring out the glaze from inside the bowls, some colour accidentally dripped over the sides – instead of wiping it off I wanted to see how it would fire. Both glazes were diluted the same but the green produced a mottled effect (even throughout all firings). The overlapped section from the double-dip. The clear glaze was also thinned but it was tricky to produce an even coat without bubbled – a few touchups with a paintbrush proved effective.
Bowls on display outside AUT Wet Lab (WM Building).
Texture Play #2 – inspiration from found objects and transferring to other mediums:
Found metal offcuts noticing interesting surfaces Wave shapes Furled wood ‘waves’ continuous layers – creating movement and breaking up the flat surface Further development ideas: large panels/ strips or repurposing found wood objects.
Glaze Research – ideas and techniques:
Paper / vinyl stencils: stencils over leather hard clay and slips added – terracotta with white and/or colour glazes. Double dip under glazing (after bisque fired). Same colours to increase opacity or multiple colours. Drip / wet spray underglaze onto bisque for marble effect. Marbling clays or Nerikomi (note: clays need to match firing temperatures to avoid cracking – can experiment with mismatched clays to try crack on purpose)
“Make something Ugly” Challenge Accepted! – making ugly art and allowing for the material to change and evolve
without the artist being present:
Works by Kevin Francis Gray
The idea of ‘removing clay’ was also inspired by
Kevin Francis Gray where he appears to strategically damage, remove or break sections during his making process. The pieces become more tangible in appearance; like running your hands through wet clay or softened butter. The works look ‘wrong’ and appeal to my appreciation for disturbing and unconventional contemporary art. I wanted to explore this theme without too much control on which sections became damaged in the process.
Starting with a base mask of clay and removing sections through scraping, cutting and tearing. Making marbled clay Pressing in layers and scraping more sections away Slicing this section of marbled clay reminded me of fungi that grows on trees Adding more sections to the mask, some pieces were too heavy to stay on (even with clay strips to re-enforce). The mask will crack in unexpected places as it dries – due to the stiff base/ support. Leather hardened clay and resulting cracks – further damage will happen as I attempt to remove mask from base. The marbled clay will turn white and reddish brown when fired. Bisque fired pieces, puzzled back together. Thinking about using a similar style to Kintsugi (golden joinery) for repairing the mask. I used diluted clear glaze to spray coat the pieces (too thick and it would block the already temperamental application) I wanted to create some interesting texture to the glaze and found some leftover black sand? Mixed into clear glaze Using a combination of hand application and brushwork to apply to random areas. To make sure the sand was well adhered to the surface, I used a spray bottle to apply a final even coat of glaze (and a small brush to touch up any missed areas) All ready for final firing! Excited to see the final result. Wow… not what I was expecting but I really like the result. The section above shows the same “basalt” (old sample) without as much glaze fired at a lower temperature. Turns out this clay was fired at a much higher temperature and the course grit blew out into a dark green moss, seeping into cracks and cervices. The red areas of marbled clay became more subtle after glazing. I’m glad I refrained from adding additional colours to the glaze and losing the marbling all together. Intrigued to continue with this project for my final semester submission. Possibly adding some wood based elements after more experimentation.
Torn paper collages (inspired by overlapping graffiti street art) Peeling back layers to reveal other (older) layers. This can be reproduced wet/dry on various mediums for interesting and unpredictable results. Bruises concepts/colour play What causes bruises? Fingers/hands (prints left behind) Associated language around physical/bodily marks – abuse, battery, both psychological and physical damage. Bruise patterns in relation to affect – colours and shapes mimics galaxies and stars, otherworldly. Contrasting, overlapping textures (sponges and brushes) Bruises as an evolving colour palette – changes with time. Combining multiple elements of bruises study to create something abstract. Pattern play for clay designs. Inspiration from artist @customluxuryspaceships – smorgasbord of local street photography including old building and signage. Re-creating some new “old” signs. The cracks and lines reminding me of road maps. Ink and acrylic on paper Ink, acrylic and tea on paper Paint, glue, flour and ink on wood.
Texture Play #3 – wood burnings (Pyrography):
Shapes and lines Overlapping patterns Dot-work play Circles and edges Rolling the edge to create broken lines Nature inspiration Adding more textures with a flat tip Leaves and branches Experimenting with different lines, angles and burn strengths Pictures forming from overlapping strokes Started off as playing with angles on iron tip and rotating the wood instead of moving my hand (see process video below).