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Interpreting Drawings and Bases for Objects

Now that I have started drawing again with the knowledge of my making process and material possibilities I went back to making using bone china with its dry cracking qualities and parian that has a self glazing effect, these two materials allow me to get various surface effects and aesthetics quality along with temperature effects in the kiln. Using simplified CNC cutting to face and cut holes I stated to interpret my drawings, using various hand building techniques, surface effects and colour. I drilled a holed in one piece and placed a coil inside made of yellow parian. Although not a fitting socket I liked the effect, the movement it brought, the way the eye follows the work as if reading a story. It is like reading the stories of past geological histories, interpreting environments and formation of objects.

I have also been thinking a lot of presentation at my exhibition, floor, wall, plinths?? I stated to work on ways to place these objects or collections of objects. I CNC cut stained plaster, made handmade crank boxes, hand formed crank bases with vitreous slips in white and black and rounded corners, glazed press moulded (see images below). None of these i felt were particularly successful, apart form the colour of the black vitreous slip and the way the coloured works popped off. Trying to get these bases to stay flat was also a challenge.

To make my materials I was wire cutting clay off the block and drying it to slake and add gum and colours. I took one of these pieces and decided to face it using the CNC machine, the cut was lovely leaving the materials qualities on the edges but having such a sheer cut face juxtaposed against it indicated the presence of human. It indicates the excavation of materials that we as humans do in our never ending need for resources. Facing both sides of the wire cut pieces prevented them from warping.

Using collections of objects and these faced slabs I started to place these on a sheet of black Valchromat I bought to try as a plinth top, using this material I can get flat surfaces and oil the Valchromat to get subtle reflections in the work. I liked the way that the grouping of objects started to tell stories and pose questions like 'What Happened Here'. It ties in with my theoretical discourse, especially the post human aspects written in 'The Earth After Us' by Jan Zalasawiecz.