YAQI ZHAO’s
PORTFOLIO zh a o ya q i 0 1 2 9 @ g ma i l .co m y a q i .tu m b l r.co m ( +8 6 )1 5 8 0 1 3 8 1 7 0 1
EDUCATION MA Designer Maker 2010-2011 University of the Arts London, London, UK
BA Ceramics 2005-2009 Tsinghua University, Beijing, China
EXPERIENCE Tableware Designer 2009-2010 Lianyuan, Shenzhen, China
PRODUCING AREA STUDY Jingdezhen, Jiangxi Province 03/2009-06/2009
Longquan, Zhejiang Province
ABOUT ME YAQI ZHAO
07/2008-09/2008
I’ve also been to many other morden or triditional ceramics producing areas to see the factory, making some works and talking with the craftsman.
I was born in 1987 in Beijing. I have my BA
biggest satisfaction when I found the balance
course in ceramics in Tsinghua University from
and created objects through all them. Clay is
2005-2009. In 2011, I graduated from University
the most familiar material to me. I’ve been work-
of the Arts London from their MA Designer-
ing with it for 5 years. As a ceramist, I am
Maker program.
specifically intrigued in experimenting materials, exploring hidden skills, and thinking through traditional techniques. My recent work is to explore
As a designer-maker, I enjoy the part of being a
a unique visual language from clay’s properties
maker. It is very challenging to create a wonder-
and industrial slip-casting process. I think it can
ful object. Time, patience, evidence of hand
develop into a new, functional and decorative
skill, variety, chance, snap decisions, and risk of
language for tableware and interior environ-
failure makes it a big challenge. I gain my
ments.
‘Making Makes Me Me’ MA Designer-Maker Graduate Show Camberwell College of Arts 2011
ABOUT My Work ‘Slip Work Series’
My recent work is inspired by
working process, I start with a
tains remains after the crust of
the process of slip-casting. In
base form of plaster. I pour a
rock is degraded into clay?’ In
the normal process of slip-cast-
little slip into the plaster mould
my making process, when clay
ing, the slip, liquid form of clay,
once a time and wave the
squishes between my fingers, I
is poured into a plaster mould.
mould frequently. Then there’s
can feel the substance of the
The plaster mould will absorb
a layer by layer ripple shape
earth and it feels extraordinary.
the water from slip and form a
appearing. Eventually I remove
I try to express the feeling and
layer on the inside cavity of the
the plaster mould, which leaves
keep it in my work. I think the
mould. When the cast has
an sculpture vessel shape with
natural process of creating a
reached the desired thickness,
numerous layered details.
mountain and the way I made
the liquid casting slip in the
my slip work has something in
mould is poured out, leaving
common. I actually don’t sculpt
only the build up of clay parti-
When I was creating the lay-
clay by hand. I act more like an
cles against the mould face.
ered series, I was stimulated to
organizer than a maker. I wave
explore on the relationship be-
the mould following my free will
tween the power of making and
and control the length of time
In my work, I focused on this
the nature of material. I used to
as well as the consistency of
characteristic water-absorbing
see a sentence from The Ce-
the slip. My work is created by
system on slip-casting and pur-
ramic Process by Anton Reijn-
the feature of material and the
sued to create the vessel
ders. ‘Considering clay’s purely
power of making. I hope this
formed sculptures. The differ-
physical ancestry, can we
unique making process brings
ence is I cast the shape of slip
speculate if any of the original
out the spirit of nature in my
instead the mould face. In my
majestic spirit we feel in moun-
work.
Size is another thing I concerned in my work. I started form the tiny scale and I was fascinated by the neat and delicate details. In order to show the magnificence of nature and to magnify the ripple effects on layers, I decided to go further with the size. A work which is approx. 60cm and very thick and heavy is being made. It brings a new element to my work - the cracks which always be seen as a flow in ceramics. To me, it is a very interesting feature in ceramics and in nature. It is also a new area for me to study. It reminds me a new way of visualizing the strength and tension of clay.
Slip Work No.1
Slip Work No.2
Stoneware Slip with Grog 60cm x 60cm x 40cm 2011
Stoneware Slip with Color Stain 6cm x 4cm x 40cm 2011
“Colourful‘Slip Work Series’
Apart from the substance of slip and clay, there’s a lot more interesting elements I found in the making process. Based on Slip Work, I add colours in the slip to show the flowing tendency of slip. It shows where the layer starts from and where it ends. The interaction between layers was visualized by different colours. The most interesting thing to me is the consistency of different slip has directly affect to the work. The added coloured slip could float on the slip or down to the bottom. Combing with the different flowing direction, gives me more possibility to create.
Colourful Slip Work No.1 Stoneware Slip with Grog and Colour Stain 40cm x 25cm x 20cm 2011
Details Stoneware Slip with Grog and Colour Stain 40cm x 25cm x 20cm 2011
Colourful Slip Work No.2 Stoneware Slip with Grog and Colour Stain 40cm x 25cm x 20cm 2011
Colourful Slip Work No.3 Stoneware Slip with Grog and Colour Stain 40cm x 25cm x 20cm 2011
Story Behind ‘The Making Process’
Making Plaster Mould
Mixing Special Casting Slip
Shaping Casting Work
Considering the size, I designed the mould in three pieces which including two side pieces and one bottom piece, The bottom piece could give clay body efficacious supports in the early drying stage.
I use a kind of special slip for my work. It contains grog in it which is more suitable for big size casting. I mix it by myself and add a little more deflocculation materials to avoid the grog settling to the bottom of slip.
Story Behind ‘Tests’
There’s lots of beauty hiden in the process of making. Sometimes testworks are more precious than final work. I got inspirations through making.
Detail of Ceramics Drawing Stoneware Slip 9cm x 20cm 2011
The little sketch of my work is made through the technique of soft varnish printmaking. At first I was touched by the gentle shadow of the work when I put it near window in an overcast day. I think the sketch capture the enviroment well throuh printmaking.
Slip Sculpture paper clay slip 20cm x 10cm x 10cm 2011
Series of Slip Tests & Drawing for the Work ceramics & print making 2011
Triangle Slip Work No.1 Stomeware Slip with Color Stain 17cm x17cm x17cm 2011
Slip Sculpture (small) Stoneware slip with pealed glaze 8cm x 4cm x 4cm 2011
Triangle Slip Test Stomeware Slip 5cm x 5cm x 5cm 2011
Colur Slip Test Stoneware slip, Clear Glaze 8cm x 6cm x 5cm 2011
Triangle Slip Work No.2 Stomeware Slip 17cm x17cm x17cm 2011
Slip Sculpture (small) Stoneware slip with metalic glaze 4cm x 4cm x 4cm 2011
Details Stomeware Slip 17cm x17cm x17cm 2011
Story Behind ‘sketchs for the works’
The sketch shows the sensitivity of mine, relating to my work. The feelings of drawing and making ceramics are similiar to me. It’s all about sensitive, patient, concentrate, details, textures, and freezing times.
Texture of Movement pencil A4 2011
Texture of Material pencil 2011
Sketch-Landscape Texture pencil A4 2011
Watercolor Sketch For Colorful Slip Series Watercolor 2011
Perivous works
Here’s works from my undergraduate course, including different kinds of ceramic making methods.
‘In Ceramics’
Sculptures Terry Cotta Clay Coiling 2008
Bird Terry Cotta Clay Slab Building 13cm x10cm x12cm 2008
Bowl Throwing 2007
Celadon celadon glaze 2008
Tiles Overglaze Drawwing 2006
Pots Drawing Underglaze Drawing 2009
This the final project of my BA course. I collected characteristic ceramic broken pieces of Jingdezhen and rebuilt them in the shape of triditional ceramic pillow.
Procelain Pillow Found ceramics pieces 2009
Glue normally cannot survive in the high temperature of kiln. So I rarely use glue in my work. Instead, I try to built a self-stand structure between pieces and spraing a layer of glaze overall. After firing, the pieces come out in one whole piece.
Floating pots stoneware slip 2008
Through this pots, I go through every stage of ceramics design which including three-view drawing, plaster model, plaster mould, slip-casting, joining, polishing, glazing, and firing.
Working As An Amateur ‘Makes Me Happy!’
I am alomost interested all craft disciplines. I curious about all kinds of materials and craftsmanships. I’m happy to be called as an amateur. I learn from other designer-makers and colleagues.
Cuttlefish Casting cuttlebones, pewter 2011
Sand Casting Pewter 2011
Play with lacquer Mother of pearl inlay, eggshell inlay 2007
I made these ‘things’ from Helen Carnac’s workshop who is one of my favourite maker! We took a walk around her studio together to see and feel, taking photos and picking up interesting things. Then, we sit around table, sharing each others feelings and doing something with these found objcts in the order of flow production line. It’s like girls in factory in old times.
Play with found objects around my home 2010
Helen Carnac’s work Enamel
Play with light and paper paper cutting 2010
Thanks!
Contact Me: z h a o ya q i 0 1 2 9 @ g m a i l .co m ya q i .tu mb l r.co m ( +8 6 )1 5 8 0 1 3 8 1 7 0 1