coverlet plates - front and back
"fun and games" - first plates post -NCECA
side plates - back of left below
dinner plate - front and back
pitchers - all about 10" to 12" tall
So here is my post – I have postponed posting since I’ve been trying to formulate a new artist statement. I am struggling to find a way to articulate what I do concisely and include the inspiration that is arising from my research in school. These pots indicate the focus I had through the last semester in school. The plates have allowed me a certain freedom in surface exploration. The challenge remains how to put what I enjoy about the flat surfaces into a more 3-d form. A resolution for the decoration of the pitchers continues to elude me. Right now in the studio, I am focuing on the plates and have begun to appropriate decoration from English medieval tiles and Persian ornament. I am altering mugs and working towards a bowl form that echoes some of the sensibilities of the pitchers in the altering and scallops. I would appreciate feedback on both the form and decoration of all the pots and suggestions for the following statement.
Thanks, and I hope everyone is enjoying the summer,
Martina
The pots I make by hand are intended to be used daily. Thrown mugs and hand-built plates are my sketchbook. Not bound by a particular ceramic tradition, I am able to appropriate ornament and form from a multitude of sources. Referential of English Medieval Slipware and Italian Renaissance Majolica, I decorate combining historical ornament with ubiquitous text, and drawings of personal narrative. Inspiration comes through the act of making. As my work develops I begin to recognize the cross-pollination that occurs between surface and form.
A similar correlation may transpire between the objects I make and their domestic environments. As I work in the studio I imagine the pots I create in use. I remain aware that the intended utilitarian role of the object has the capacity to evolve. I aim to create objects that foster relationships with their owners that develop and deepen over time.
11 comments:
Hi Martina!!!!!!!!!!! How are you, I love the work you have posted, I especially love your palette. Its hard for me to find any constructive criticisim at this point. I would like to see the depth you are using on the flat surface show up on the pitchers and mugs but you already have stated that sooo.... I'll just have to wait and see. I love the forms and the colors. It is so nice to see the organic yet colorful landscapes you address with the low fire clay. Keep up the good work. candice
martina,
well, well. it would seem that things are coming together for you. i'm happy to hear that you are getting some real inspiration from all the research you are doing. overall, i'd say these pots are resolving themselves well. the surfaces are deepening, the imagery is becoming more clear, and most of all, the historical references you are making are really coming through. i can certainly relate to the difficulty of moving the flat surface to a 3d object, but i think that will come along soon. actually, one of the most interesting pieces to me is the last pitcher. the form itself is reminiscent of old english pitchers, and the scalloped bottom really is beautiful and elegant. the thick, opaque white coupled with the well placed green/copper dots bring me to persia or even iran or something... this piece is really quite moving for me.
as for the plates, as i said before, your surfaces have really developed. my questions/criticisms revolve around the cloud-like shapes- what are these about? where do they come from? i'm not sure they make sense to me. i love the red/white surface on the back of the couch plate- the white shapes there seem more natural to me. and of course i love the image. :)
i'm really happy to see this work. please feel free to elaborate on the plates if you have time.... :)
mel
-tina, the work overall for me feels a bit unresolved and still trying to find a voice.
starting from the top: the first set of plates for me have the feeling of a glaze test and i guess i don't really like the color combos(this could be the computer) i am going to say this straight away: the work feels/looks sloopy to me. i wish some of your more meticulious/tight ways of working were present. i love the depth you achieved on the plates and pitchers with the white slip. the cut edge plates and their design work really great together.the mugs appear to be the start of something great and have a feeling of fun! i think the pitchers are fab! the white is my favorite(last one). i dont want to seem overly critical, these are sketches and works in progress but they seem to be trying to hard to be casual. i am also really liking the scallop towards the bottom of the pots/at their widest point. form: for the pitchers the white with blue and yellow feels awkward. bottom white and amber have great shapes. i personally would like scallop or something to also pull the handle more together with the body(my personal struggle, also).only 2 minutes left of computer time and they are not joking. so artist statement later.you are onto something great, keep working.i hope this makes sense to more then just me monica
Hi Martina,
Sorry for the delayed comment. Better late than never?
The plates vs. the thrown forms feel almost like two different bodies of work to me. The plates are narrative, personal and fun, while the mugs and pitchers are...well basically the opposite to me.
To elaborate on the plates -- the imagery feels very Martina. I'm very intrigued by the spiraling ribbon on the dinner plate - it is the most interesting to me of the patterned decoration. I really like the somewhat uneven and patchy quality of the surface - it is unified without being precise.
The thrown forms feel a bit ponderous to me. The pitchers are trying to have some movement but the wings have been clipped. I always remember you talking about having the decoration on the top two thirds of the pot, and I wonder about that with the placement of your scallops. It seems like have pots that are bulging at the bottom and to also have the scallops down there makes them rather bottom heavy. It could be the photography as well - since they are not well lit at the bottoms. As far as handles - I like the handles that are closer in to the form that the one that is poking up (2nd pitcher down).
What about handbuilding some forms other than plates? What would happen if you made the pitchers out of slabs? I also wonder about dividing the space of the thrown forms more, so that you could have contrasting imagery like you do on the plates -- I am thinking of vertical divisions - half and half, thirds or squared off.
OK, I hope we will talk soon,xx,
Megan
Oh, I forgot about the artist statement. I like the first paragraph more than the second. I think the second seems somewhat generic to most people who make functional objects. Couldn't most potters say "I aim to create objects that foster relationships with their owners that develop and deepen over time."? I realize that in your context, with nary a potter for miles, it probably does seem more unique. To fall back on the teachings of Doug Casebeer, it might be worth thinking about the specific values that shape the decisions you make with clay and why you work with clay at all. (I know that is probably a dicey question too).
OK, that's all for now,
megan
Hello Martina,
I feel less hesitancy in the surface decoration of these pieces and I am liking the developments! I think your palette is coming along; you seem to be more comfortable using it.
The side plates are fun; I especially like the green and creme combo and the way that the 2D design meshes with the scalloped edges.
I like the clarity of the foot on the spiral plate back (as it frames the couch) - it looks more finished than the coverlet plate feet. Very subtle, but noticeable. What about a taller foot? You could use this area for decoration too?
My favorite pitcher is the amber one with the red dollop on the handle. I love the brush marks on the slip and how the scallop cuts mimic the motion you are making with the slip as you paint it on. What about carrying some of the curves of the scallops to the foot? Small niches on the foot ring could help tie the foot to the body a bit more... Or, how might a cut on the rim or spout of the pitcher tie it in to these cloud-like shapes you are making?
Thinking of beginnings and endings, have you thought about how certain rims might affect your cups and pitchers? Could a certain rim give rise to another designated realm for the decoration?
There is so much in this work. I am really interested to see where it takes you!!
HI Martina!
I love the spontaneity of your handbuilt plates. They are fresh, and inviting. I think the decoration matches the forms well- the only time that it doesnt seem as fresh, is when i saw the couch on the back. It went from being so quick and lively, to having a meticulous drawing on the back. What about carrying the front
design around the corners to the back instead? ...
I feel that the glaze surfaces could be more opaque- the glaze treatment seems anemic. Make the statement of color punchy and as fresh as your plates are!The Pitchers are a nice start...It is really hard to bring handbuilt design elements into a thrown form (I have the same dillema)..The pitchers are thrown well! Maybe throw a bunch and spend a day altering them (maybe even just make mini versions). The handle on the first one looks great. maybe cut your beaked spout connection points into a scalloped design like the ones you've painted on the plates?Or fake the beak with an added coil under the spout. My only big problem with the pitchers are the throwing rings. Even if throwing rings were a design element from the era you are gaining your inspiration, unfortunately now, they just scream 1970s, and get in the way of your decoration. Rib them out, and let your lovely thrown pots sing with their form.Best of luck to you!!!!Alicia
HI Martina!
I love the spontaneity of your handbuilt plates. They are fresh, and inviting. I think the decoration matches the forms well- the only time that it doesnt seem as fresh, is when i saw the couch on the back. It went from being so quick and lively, to having a meticulous drawing on the back. What about carrying the front
design around the corners to the back instead? ...
I feel that the glaze surfaces could be more opaque- the glaze treatment seems anemic. Make the statement of color punchy and as fresh as your plates are!The Pitchers are a nice start...It is really hard to bring handbuilt design elements into a thrown form (I have the same dillema)..The pitchers are thrown well! Maybe throw a bunch and spend a day altering them (maybe even just make mini versions). The handle on the first one looks great. maybe cut your beaked spout connection points into a scalloped design like the ones you've painted on the plates?Or fake the beak with an added coil under the spout. My only big problem with the pitchers are the throwing rings. Even if throwing rings were a design element from the era you are gaining your inspiration, unfortunately now, they just scream 1970s, and get in the way of your decoration. Rib them out, and let your lovely thrown pots sing with their form.Best of luck to you!!!!Alicia
HI Martina!
I love the spontaneity of your handbuilt plates. They are fresh, and inviting. I think the decoration matches the forms well- the only time that it doesnt seem as fresh, is when i saw the couch on the back. It went from being so quick and lively, to having a meticulous drawing on the back. What about carrying the front
design around the corners to the back instead? ...
I feel that the glaze surfaces could be more opaque- the glaze treatment seems anemic. Make the statement of color punchy and as fresh as your plates are!The Pitchers are a nice start...It is really hard to bring handbuilt design elements into a thrown form (I have the same dillema)..The pitchers are thrown well! Maybe throw a bunch and spend a day altering them (maybe even just make mini versions). The handle on the first one looks great. maybe cut your beaked spout connection points into a scalloped design like the ones you've painted on the plates?Or fake the beak with an added coil under the spout. My only big problem with the pitchers are the throwing rings. Even if throwing rings were a design element from the era you are gaining your inspiration, unfortunately now, they just scream 1970s, and get in the way of your decoration. Rib them out, and let your lovely thrown pots sing with their form.Best of luck to you!!!!Alicia
Hey Martina – I hope your summer has been going well, I’m interested to see how your work has changed after spending time assisting Julia these past few months. Looking at this latest round of work, I am intrigued by the way you are cutting the edge of your square plates. It sets up a lovely rhythm in the form and the beveled edge gives a pleasing glimpse of the rich clay body. In terms of the decoration, however, I’m not quite grasping the connection between the front and the back. How are your patterns and the couch drawings related? Maybe they don’t need to be, but I’m curious how you are approaching these. When I see the couch, I immediately think of eating an afternoon snack in the living room, or cookies while watching a movie. I like the little bird sitting on the back – it’s almost like he’s waiting to take care of any left over crumbs… What about taking fabric patterns from couches and using that for inspiration on the front of your plates? I’ve recently become obsessed with Brenda Quinn’s pots – she has a fantastic way of combining pattern and geometry with looser floral drawing.
In terms of the pitchers, I think my favorite form is the third one down with the amber glaze. I love the way you puffed out the body in sections and how the handle hits the backside. It seems you made a natural spot within the form for the handle to attach. This pot is visually well balanced and has an overall sense that it would be comfortable to hold and would function well. I have always been a fan of added spouts, they seem to help draw the eye up from the fullness of the bulbous base so commonly used in pitchers.
In terms of surface, I am most drawn to the first pitcher. The amber glaze on top of the variable slip is so warm and full of depth. The way you carry the movement of your scalloped line into the how you brush on your slip is an effective way to connect your form and your surface. Perhaps you could carry your line of altering up further on the pitcher? Maybe around the neck, framing the belly of the pot?
I’m still thinking about the artist statement, but I’ll try to get back to you soon.
--Kippie
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