Final ceramic sculpture

  • So same process as previously and set up armature using stand, again covering in newspaper so that the clay doesn’t stick.
  • This time I want my figure to be bigger and more elongated and slightly wider so I can have room to fit wire into the stomach once fired.
  • I also this time wanted to make one limb out of clay reaching to over the head relating to my illustrations, though this I’ll need to make sure there are no air bubbles within the clay and to be very careful and support and leave leather and lightly work into as it will be very fragile.
  • Using same body shape and face appearance but want the face to appear more menacing this time and feel I could show this through the eyes of the figure, the last experiment looked too innocent for the disorder. It’s supposed to be creepy and menacing as it’s something that takes over the mind.

  • Starting from the top and working myself down, I used thin sticks within the limbs to later apply wire and also makes it hollow so that it can be fired.
  • This time from looking at my previous experiment I wanted it to consist of much more rough texture relating to giamettis sculptures, I think it’ll also show the oxides that’ll be later applied better and show more contrast and I feel with it being smooth it doesn’t show or suit through visuals to the disorder and this also relates to all my feedback on texture within my audience on the survey.

  • I also knew from previous experience that glazes wouldn’t really be suited to what I was trying to convey, I don’t want anything with a shine and know stoneware is more matte but I want something that appears dry, rustic and broken. For stoneware as well that means firing it at a higher temperature. I feel again through previous experience that oxides will best suit this piece and have decided upon using black copper for this figure and then a back up and manganese on another, though I’m still not certain how I’ll display them yet for my exhibition.

  • For the long arm on the left I used a stick on its own and pressed the clay around it evenly and then attached to the clay piece and positioned to desired look, I then let it dry slightly and removed the wood piece carefully and structured the hand across the head and used the wooden carving tool to show abit more definition once leatherhard.
  • Though my work when I would apply wet clay I would work it into it and at times take breaks imbetween so it could become more solid and this therefore makes it easier for you to sculpt with tools and shows more definition, I would say the hardest part of all this is the beginning stage as the clay is so soft and an be hard to get the desired shape, so patience is key within this.
  • Through all my sculpting process I would reflect back to my illustrations and my primary images and life drawing to reference from for shape, though I wanted my piece to have a more ‘S’ shape so it looks asif the figure is hunched which makes it appear more sneaky and evil but I feel as I haven’t made the human form before in clay that I found this really difficult and feel I showed it but not to the extent that I would’ve liked.
  • Using the rotating wheel so that I can look at it from a 360 view so that I can make sure all of its proportions look correct from all angles, I used my stick wire images to get reference for this in my log book.
  • Once finalized I wanted to see how it would look with the wire though not fired yet and I’m really loving the appearance of it though again as said before really want to make that wire rusty so it adds to the aesthetic decrepit look I’m going for but will be doing that in later stages. I know steel rusts so therefore I will be using the steel wire and I feel it looks best out of the previous materials of wire I used that being copper and modeling wire and also has good strength to stay in in place whilst being flexible. I can’t see the wire process being too tricky especially after practice using wire through experimentation tester piece.
  • I used a wooden carving tool to get this texture and simply carved in cross-hatched lines taking inspiration of  John  Kenns Illsutrations and Edward Gorey – The GashlyCrumb Tinies.
  • Using sponges that are the same height to keep the piece in place whilst I cut out the stomach using the knife, at this stage I had to to be very careful as the stomach is a weak point but with the wide hips and wider upper half should keep it together when being fired and keep it balanced if hung. The hips being wide makes up for that weight.
  • The wide hips being more of stylistic approach from inspiration of the artist

Overall really happy with the outcome of this and now want to make at least 2 more, 1 being hanging and one similar to this as back up. Think I went from wanting my final piece hanging but now really liking the appearance on the stand, though I want to wait till I’ve made all 3 and see which is most aesthetically pleasing and which visually represents the disorder anorexia the best. I want it to appear quite alien as that’s how one could feel with the disorder but need to try and keep it human at the same time, using the visuals to show what the disorder would look like separated from the person. My next stages is to fire in tester kiln which takes 24hrs then make a start on my two other pieces which I will sculpt at the same time to save time and also allows me time in between each piece as they go leather-hard as it’s easier to work with and get the definitions/shape. I’ve made sure to go over where the wire will be fitted as it will shrink in the kiln and shrink further when oxided by 10% but I plan to oxide them all together, 2 with black copper which I feel turned out best on my previous tester piece and one manganese as I also really loved the appearance of that one, both very off white and corpse-like.

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