Hi, this is just a practice post. I'll let you know what I think of the reading later...
OK so I read about the ceramists in the book, some very interesting work. I think what I found most interesting was a process used by 2 artists for layering colors of slip. Kathryn Hearn on page 126 and Felicity Aylieff on page 96 both apply multiple layers of different colored slips and then once dry, they go back and remove parts of the outer layer(s) to reveal the colors underneath. looks very cool, I'd like to try it if not too time consuming. I am also very interested in nature and the relationship between clay as an artistic medium and clay as a piece of raw Earth and how many artist, including myself, tend to create natural and organic forms and surfaces just by the nature of the material.
I really liked the piece by Emmanuel Cooper on page 97. The thing that attracts me most to it is its unique gravelly texture. I just want to touch it! One of my favorite elements of sculptural work is texture, and I love work that elicits a tactile response (I hate going to museums and galleries and not being able to touch things!!) I find it interesting that he uses roads and pavement as his inspiration, as those are not usually things that you would think of as inspiring. In his other work on this page I really admire the colors and application of glazes. The difference in texture and design between the gravelly pot and the colored bowls is pretty remarkable. The other artist who stood out to me was Kochevet Bendavid on page 101. I love the craftsmanship of her work; it’s so gestural and organic. It kind of reminds me of times when I was throwing and I completely lost control of the vessel and it came out lopsided and weird looking. Those were always my favorite pieces! They were just more interesting to me. I know her distortion of conventional form is intentional and deliberate, which makes it even more impressive. The application of glaze and the colors she uses are also quite intriguing. These sculptures really invite the viewer to take a close look and pose many questions as to the meaning of the work.
I am drawn to Tamsin van Essen's work on page 93 for the playfulness that her objects convey. I enjoy the play on concept of these objects that could be functional in the sense that they illustrate physics equations and ideas. I enjoy Sarah-Jane Selwood's deconstructive aspect of her bowls which are beautifully crafted and constructed. She still keeps the integrity of a functional object, yet created an interesting sculptural aspect to the piece. Her use of negative/positive space, form and shape is organic, yet methodical in the clever placement of the altered parts.