Ikebana Series The shape itself has derived from experimentations using the plaster lather, casting simple everyday objects and shapes also aided the development of this design to create a unique and interesting shapes. a Each vase has a unique emotional attachment as the process developed investigated and attempted to celebrate individuality and paying particular attention to the human touch, and the slight alterations that can be created from this. Throughout the process experimenting with alternative glaze applications created a unique finish to each piece but also celebrating the quality and characteristics of bare white porcelain. Its translucent qualities and matte, smooth texture is very interesting. Using metals, objects and other materials I experimented with the diffusion of colour onto the pieces, to keep in line with my main inspiration of Ikebana I wanted each piece to almost grow, and develop itself within the materials. Using a simple length of copper wire which melted at its own rate and direction we have the ability mimic nature in a way, to create an organic piece full of life. The use of glazes and ceramic slip has aided the diffusion of this copper path, intensifying the colour and bringing our subtle hints of greens, and browns to the piece.
Using strong white porcelain slip I applied several layers with different methods, including dripping, flicking and manually adding slip to specific areas of the piece, alternating the angle of the vessels allowed for interesting results. An attempt to create alternative pieces is a simple observation and ideology of the natural organic process of grow. Abnormalities are celebrated untouched and have their own aesthetic which I have tried to create in this vessel, learning to trust my natural instincts and ability without having to conform to a specific design or style. The texture and colour created by the copper wire is very interesting, by using a subtle honey glaze, the colours of the natural copper wire can be intensified, pulling them into the body of the clay adding depth and intrigue.
Creating a variety of coloured porcelain slips was one of the main aspects of the development of the project. Trailing and testing hundreds of formulas and glaze recipes to create a unique formula that compliments the alternative glaze methods and process I have been experimenting with. Using a series of metals oxides was an important process for the project. Here I have cast half of my mould in white porcelain slip with the remainder using a 2% Chromium oxide solution. When used in conjunction with copper wire this created an interesting colour pallet, a transparent glaze was then used to bring ou the colour of the slip but also to intensify the colours created by the diffusion of the copper wire into the clay body when melted. The brown tones are truly exemplified here, as seen in the bottom left and right images.
The final being piece in the series being a personal favourite, using the same principles I have developed throughout the project and using similar alternative design methods I have proceeded to create a truly unique piece that can display all my methods and ideas in one. By adding further layers, using quite strange materials, plastic bags, recycling waste and reusing what would be considered rubbish in addition to the slip casting process has created a unique final finish and texture. With the addition of copper wires, chromium oxide to the slip and the use of honey transparent glazes, the dynamics and feel of the vessel has completely changed. To contrast the exterior I wanted to create a dark natural finish to the interior of the piece, the addition of a rutile solution provides warm contrasting darkness. The project looks closely at the uncontrollable natural processes we experience everyday. We must celebrate the fluidity of life and the spontaneous application of materials here which mimics that of nature, using alternative methods and processes within my practise helps us to forgive and work closely with our surroundings and our materials. A small crack, warp, sag, drip or bubble in the piece is sometimes and uncontrolled characteristic of our materials, our human touch can aid the development of this or add more, but how we process this “mistake� can alter our perceptions of art and nature.