Series 1 - BOWLS
My initial thought was of create a set of functional objects - bowls, dishes - inspired by road kill. Do I have your attention now?
But as I played with the idea and took it from concept to design - the form, the species - I couldn't remove the off-colored elements from the art, at least in my mind. For example, my sketch of a flat skunk, with a tail posed overhead to hold a dip bowl - lovely in its etherial majesty AND FUNCTIONALITY - still, retained too much of that element of tragedy. I mean, who is going to dip the crudite into the sauce in the tail bowl without thinking all that is associated with dead skunk on the highway - the guts, the head-swooning smell?
So I thought maybe we could start with something simpler - and more acceptable... like a dead fish.
Here's the first pilot. Made from some leftover 306 clay (from my last class, 2 years ago), this piece was hand formed from the vague internal sense of fish that we all carry in out heads. I think it's like a cross between a friday dinner in lent and a whaling boat. It doesn't exactly match my vision, but it's close. I am not sure it will survive the first firing, but if it does, I have a firm sense for how I want to glaze it. Let's hope for the best.
"Flounder I" is a different story. This guy was researched on the internet and developed on a custom form that I created from a piece of drywall. It's been formed with fresh, low-fire clay and is currently drying in my studio.
I am very excited about this piece but also worried - because of the delicate nature of its form and my uncertainty on how the low-fire clay performs. (This is the first time I am working with it.)
BOWLS and PLATES
The PHO bowl (below) was meant to subscribe to my intention of making a piece that looks like it was made with the hands. It was formed around a mold and worked intensively until I was happy with the lines. For a touch of whimsey, I made 5 slits in the underside and pressed a set of 3-5 clay balls - like peas in a pod. They may fall out during firing - I don't know. In fact, the whole thing may crack because I fear I waited too long to release it from the mold.
It was a learning process, filled with a significant amount of unknown. I wanted a certain look - a primitive refinement - but with a certain elegance of a slightly upraised rim. This required the bowl to dry suspended upside down and turned over only when it was firm enough so that the rim and base did not droop from gravity. Since clay shrinks significantly as it dries, there is a conflict between the clay and the form it sits on. Wait too long and cracks will develop. I guess we will see.
The cosmic plate is a fun and simple object to make - a rare combination for me. Perhaps a prototype for something that could be given as gifts - or even sold, if the insanity strikes me to do something like that.
And because I am using low-fire clay, I have the opportunity to apply some strikingly bright color to it.
Regardless of how these objects turn out, I am finding again that clay is a format that allows a high degree of expression and, depending on your approach and discipline, an opportunity for surprise - both good (like serendipity) and bad (like a broken piece of brown burnt rock). Every week, something new comes out of the kiln to make you happy or puzzled or sad. Just like life.