Sunday 19 December 2010
Decadent Gestures
A friend of mine commissioned this one for her boyfriend as an elaborate and decadent birthday gift. It is made up of lots of her nipples for her partner to caress each morning when he has his coffee. That is Love. The fly is an idea for a logo that I have been considering. Any thoughts or feedback would be gratefully received as always.
Monday 22 November 2010
NIPPLES
I have developed some slip cast porcelain as an extension of my hand built work. I am hoping to sell some of these at the open studio on 11 of December at
Please come along for free wine and nibbles, there will be a raku firing with an opportunity to paint and fire your own pot for £5, and hundreds of beautiful hand made ceramic which would make amazing one of a kind gifts, all starting at around £4.
Wednesday 6 October 2010
Slip casting
Above are some of my experiments with slip casting. I studied Ceramic Design at St Martins and going back to this method is like coming full circle after hand building for the past 7 years. However I do consider this to be a commercial side project and my bigger more expensive and time consuming pots are my main thang. I am hoping these two methods will feed into each other and combine in some way. I anticipate that this development will take time as balancing teaching, and MA, and A' Level and the studio is damned tight, but eventually......
Saturday 12 June 2010
New range of shapes
This is the latest range of shapes I have developed. I am pleased with the shape and I liked them before I glazed them and put them in the kiln, I feel the colours detract from the form. Any thoughts, ideas or suggestions on how these pieces look/work would be gratefully received.
Fresh out of the kiln, they were still warm at this point.
 |
Fresh out of the kiln, they were still warm at this point.
Wednesday 19 May 2010
Trying to do it quicker...
I have just set up a Facebook page (http://www.facebook.com/annbolina) for my artwork to show it to my friends and the response has been pretty impressive and uplifting for me. I wish I had done it sooner! I have had interest in my work, words of support and encouragement (which is always good), and an offer of setting up a stall in Brick lane once a month. So this is what I am working towards now.
Given that my work is generally enormous and takes hours to make, I have been working on some stuff that is quicker to make and cheaper to sell. I would struggle to shift big, fragile and expensive pieces at Brick lane which is notoriously packed out, and full of students who have no money. Therefore I have been working on press moulding returning to my ceramic design roots back in the St Martins days. I am making what I hope will be quirky, cheaper pieces which can be packed away easily if they are bought on the day. I will however put out some of my big pieces when I am at Brick Lane and give cards to anyone who may express an interest, you never know!
Below is a picture of the work I am currently making, in the background you can see the mould I used to press the clay into shape. I am using the re-occurring nipple theme. This time on an every day object that is made to be used and touched. I like the idea of confronting people with the unexpected, nudity is still taboo especially in particular situations. Having a nipple confront you at the bottom of rather fulfilling bowl of soup while meeting your boyfriend's parent's for the first time could throw up a wide variety of responses. Placing the nipple out there for everybody to see, touch and fondle is forcing people to deal with imagery they may not expect to encounter in an everyday situation. My hope is that people would see my work as cheeky and rather humerous. However there is the risk that people of some religious or cultural backgrounds may find this kind of imagery challenging or embarrassing when used in a context they are not familiar with.
I am not really sure what my aim is with the ongoing nipple theme. I am not trying to conqour the nudity tabboo, and although there are casts of my nipples out there for the world to see, I have no intention of whipping out my real ones in any public places in the near future. I like the idea of the vessel as an analogy of the female form, an abstraction and a way of communicating concepts and ideas of womanhood, and I am sure this plays some role. However I have no clear or conclusive reasons, I guess I will keep on doing it untill I have worked it through.
I am looking to develop other symbols which I will integrate into my work as it develops. Over the last few months I have started to keep a diary of each object I make. (Mainly the larger peices). I log the time I spend on each peice and document the visual inspiration, thought processes and descsion making as the peices develop and grow, sometimes just words, other times larger peices of text. I diary for each object. I am hoping this will help me to rationalise and explore my work critically as it develops.
Given that my work is generally enormous and takes hours to make, I have been working on some stuff that is quicker to make and cheaper to sell. I would struggle to shift big, fragile and expensive pieces at Brick lane which is notoriously packed out, and full of students who have no money. Therefore I have been working on press moulding returning to my ceramic design roots back in the St Martins days. I am making what I hope will be quirky, cheaper pieces which can be packed away easily if they are bought on the day. I will however put out some of my big pieces when I am at Brick Lane and give cards to anyone who may express an interest, you never know!
Below is a picture of the work I am currently making, in the background you can see the mould I used to press the clay into shape. I am using the re-occurring nipple theme. This time on an every day object that is made to be used and touched. I like the idea of confronting people with the unexpected, nudity is still taboo especially in particular situations. Having a nipple confront you at the bottom of rather fulfilling bowl of soup while meeting your boyfriend's parent's for the first time could throw up a wide variety of responses. Placing the nipple out there for everybody to see, touch and fondle is forcing people to deal with imagery they may not expect to encounter in an everyday situation. My hope is that people would see my work as cheeky and rather humerous. However there is the risk that people of some religious or cultural backgrounds may find this kind of imagery challenging or embarrassing when used in a context they are not familiar with.
I am not really sure what my aim is with the ongoing nipple theme. I am not trying to conqour the nudity tabboo, and although there are casts of my nipples out there for the world to see, I have no intention of whipping out my real ones in any public places in the near future. I like the idea of the vessel as an analogy of the female form, an abstraction and a way of communicating concepts and ideas of womanhood, and I am sure this plays some role. However I have no clear or conclusive reasons, I guess I will keep on doing it untill I have worked it through.
I am looking to develop other symbols which I will integrate into my work as it develops. Over the last few months I have started to keep a diary of each object I make. (Mainly the larger peices). I log the time I spend on each peice and document the visual inspiration, thought processes and descsion making as the peices develop and grow, sometimes just words, other times larger peices of text. I diary for each object. I am hoping this will help me to rationalise and explore my work critically as it develops.
Sunday 25 April 2010
Keeping it going
This is my latest pot, I have a back log of bisque fired pots to glaze. I have some new botz glazes that I will be testing out.
This really is a new range of pots, the shape has developed into a kind of a bullet, this was inspired by some work I saw at the London Art Fair in Angel this year. I am focusing on building a body of work which I will photograph and start making applications for shows and galleries. I have been making in the depths of Mile End with out anyone seeing my work for 5 years now. I really need to build up the courage to put my stuff out there. I have teaching under my belt now, my Blog is up and running, my website is in the making, now I need to try and get into some shows.
I went to the new Ceramics section at the V&A yesterday the contemporary Ceramics section blew me away. In my dreams this is where my work will be. I have some pictures from the show I will put up for your perusal.
Sunday 28 March 2010
Developing new shapes
I have been developing new shapes inspired by some work I saw at the London Art Fair in February. Pod like tall slender shapes. Still haven't got the shape quite how I want it. I will keep working through it until I have resolved the form and have it exactly how I imagined. Already these shapes are evolving and metamorphosing into new forms in my sketches in a slow evolution.
I continue to develop the surface of these works, I am considering integrating decals developed in Photoshop onto the body of the work, possibly reintroducing some sort of narrative, an idea I dabbled in a few years back.
Coiling on a grand scale...
For anyone who may be reading this, I have been flat out at work for the past few weeks, and haven't had time to stick anything up on the blog. I have been busy making at the studio and at school, I will put the pictures on just as soon as I can. For now I thought I would put up some work by potters I have been looking at of late.
I love these pots by Wedy Hoare, not only the organic shape and the rough texture of the clay, but the sheer scale of these bad boys is something to marvel at!
Another ceramacist I have admired for many years is Magdalene Odundo, again it is those organic shapes the hand built vessel, the nipple like protuberances, the femininity, these are the things that tick boxes for me. I would like to explore the hand made vessels from africa. The history of ceramics in Britain is in the wheel. Being a coiler I would like to go to the roots of the coil and the pots from Africa seem a good place to start.
I love these pots by Wedy Hoare, not only the organic shape and the rough texture of the clay, but the sheer scale of these bad boys is something to marvel at!
Another ceramacist I have admired for many years is Magdalene Odundo, again it is those organic shapes the hand built vessel, the nipple like protuberances, the femininity, these are the things that tick boxes for me. I would like to explore the hand made vessels from africa. The history of ceramics in Britain is in the wheel. Being a coiler I would like to go to the roots of the coil and the pots from Africa seem a good place to start.
Sunday 21 February 2010
Sunday 14 February 2010
Saturday 13 February 2010
New Work
Here are some pictures of Julia's pot mark II completed, quite happy with the way this one turned out, it has an antique feel to it, slightly decadent, and a little bit cheeky.
A change is a foot...
Last night I went out for a beer last night with my old friend Dan Moran who studied ceramics at Camberwell and although he is now training to be an accountant, I believe will end up being a ceramic man again. In fact I wish he was now. We had quite an enlightening conversation about the direction of my art work. Dan is of the opinion that its time to move on from the vessels I have been making onto creating more delicate, intricate and non-functional pieces. I have been having thoughts in this direction for quite some time. I have bought a bag of porcelain, some books on porcelain ceramics, on women in art, and the history of studio ceramics. I am looking for inspiration, stocking up on ideas. I just wish I had the time to invest in making change happen. A few hours a week in the studio means that my work develops at a snail's pace which is profoundly frustrating
I have been following the work of ceramic artist Conor Wilson for a few years now, I find his work highly inspirational, fresh, and more importantly it is Art...not 'just' pots. As much as I respect Bernard Leach and the role he has played in the formation of studio ceramics I feel that he has also indirectly played a role in the slow acceptance of ceramics as a medium in art. Generally people are unaware of the intellectual thought and the role of spirituality in the creation of these pieces, and the fact that the works of Leach and Hamada are fully appreciated as art in Japan and Korea. I know that I wasn't fully aware until recently. This lack of knowledge coupled with the fact that leach style pots have become so commonplace due to their successes that they have lost some of that original charm which they had when they were first produced. This means that people often see these pieces as just brown pots. To fully appreciate the work it was necessary for me to read extensively about the Leach tradition.
Having read in detail, I sometimes feel guilty for creating work that is not in line with Zen tradition, and not god forbid...not functional! And then I see the work of someone like Conor Wilson, and my confidence begins to grow. The time of change for me is very near. Hopefully my MA will push me over the edge, I think the main thing I need is confidence....
'Lemon Squeezer' (1998-2001) above is one of the first pieces a saw by Wilson....again the body as an influence. Apparently this piece was inspired by a dream he had about having sex with himself!!
'Hermit' (1999). Again an enormous phallus.
'Triple Necked Vessel' 2008, work in progress, with what looks like a little fanny on the front.
'Triple Necked Vessel' 2008, the completed article. It is worth checking out his web site http://www.conwilson.com/ He writes really well, and in great depth about his thoughts on the development of his work. It is an interesting insight into the mind of what I believe is a very important ceramic artist.
I have been following the work of ceramic artist Conor Wilson for a few years now, I find his work highly inspirational, fresh, and more importantly it is Art...not 'just' pots. As much as I respect Bernard Leach and the role he has played in the formation of studio ceramics I feel that he has also indirectly played a role in the slow acceptance of ceramics as a medium in art. Generally people are unaware of the intellectual thought and the role of spirituality in the creation of these pieces, and the fact that the works of Leach and Hamada are fully appreciated as art in Japan and Korea. I know that I wasn't fully aware until recently. This lack of knowledge coupled with the fact that leach style pots have become so commonplace due to their successes that they have lost some of that original charm which they had when they were first produced. This means that people often see these pieces as just brown pots. To fully appreciate the work it was necessary for me to read extensively about the Leach tradition.
Having read in detail, I sometimes feel guilty for creating work that is not in line with Zen tradition, and not god forbid...not functional! And then I see the work of someone like Conor Wilson, and my confidence begins to grow. The time of change for me is very near. Hopefully my MA will push me over the edge, I think the main thing I need is confidence....
'Lemon Squeezer' (1998-2001) above is one of the first pieces a saw by Wilson....again the body as an influence. Apparently this piece was inspired by a dream he had about having sex with himself!!
'Hermit' (1999). Again an enormous phallus.
'Triple Necked Vessel' 2008, work in progress, with what looks like a little fanny on the front.
'Triple Necked Vessel' 2008, the completed article. It is worth checking out his web site http://www.conwilson.com/ He writes really well, and in great depth about his thoughts on the development of his work. It is an interesting insight into the mind of what I believe is a very important ceramic artist.
Wednesday 10 February 2010
Oh My God
Having just announced that I would like to explore the role of women in art and the idea of the vessel and its similarities with the female form, I was enthralled and a little bit disconcerted to find the following images on some of the bogs that I follow.
The one above 'Like Butter' (1997) is by Kate Butterly an American ceramacist who creates small sculptural vessels which are based around the human form. In my mind they ooze feminine form, although not the typical airbrushed and svelte forms we all see in the media. This piece looks like the lower half of a de-robed female cherub, all rosy and pink, there are even what appears to be little nipples on the cushion upon which the rather graceless little cherub sits. I think I love it.
'Above Normal' (2008) also by Butterly smacks immediately of the uterus, with what appear to be little baby feet where the eggs should be. These are quite powerful and unsettling works that work on a part of my brain related to bodily functions and wet sticky things. The glossy pink of the body of the sculpture make it seem as though this one has been whipped fresh out of someones body plopped on the side board.
'Uterus Vase' by Stéphanie Rollin makes no bones about the fact that the vessel relates to the female form. This one is a bit too slick for my liking but it is another example of a woman out there looking at femininity and gender through ceramics. Maybe someone should write a book on this phenomenon!
The one above 'Like Butter' (1997) is by Kate Butterly an American ceramacist who creates small sculptural vessels which are based around the human form. In my mind they ooze feminine form, although not the typical airbrushed and svelte forms we all see in the media. This piece looks like the lower half of a de-robed female cherub, all rosy and pink, there are even what appears to be little nipples on the cushion upon which the rather graceless little cherub sits. I think I love it.
'Above Normal' (2008) also by Butterly smacks immediately of the uterus, with what appear to be little baby feet where the eggs should be. These are quite powerful and unsettling works that work on a part of my brain related to bodily functions and wet sticky things. The glossy pink of the body of the sculpture make it seem as though this one has been whipped fresh out of someones body plopped on the side board.
'Uterus Vase' by Stéphanie Rollin makes no bones about the fact that the vessel relates to the female form. This one is a bit too slick for my liking but it is another example of a woman out there looking at femininity and gender through ceramics. Maybe someone should write a book on this phenomenon!
Tuesday 9 February 2010
Follow me!!
I am appealing for followers. I have put a little gadget on the right hand side of my page so it is easy to become a follower, thus far I have one follower, loyal fiance John. I was tempted earlier this evening to log in under a different email and follow myself, but I thought that was a bit desperate. Come on make me feel loved, and as though all those hours I spend in the studio are worth it! I thought untill now that unlike an actor I didn't need an audience to do my work, but I take it back, a little bit of recognition in the shape of a blog following would be great. Comments ideas, tips and anything would be gratefully received!
Sunday 7 February 2010
Moving On
I went for an interview for 'Artist Teacher and Contemporary Practices' MA at Goldsmiths Uni the other week and I got a place! I start in September. This will mean more time for my artwork which I am chuffed about. My work seems to be moving along at The moment. I have ordered a lot of books on the role of women in art. My work has been taking on figurative aspect and I have been thinking of the vessel and its similarities to the female form. I also just read Gombrich's 'The Story of Art' and not one woman is mentioned. If I am a woman artist I need to understand the time line I am operating in.
Above is the pot I made a few weeks ago, it came out good, but not really how I wanted in terms of colour. This peice shows change and development in the forms I am making.
A group of recent pots after bisque, John's is on the right at the back. The front one is Julia's pot mark II.
I love this shape. This is a sculpture I saw at 'London Art Fair', stupidly I didn't write down the name of the artist.
This drawing is from my studio sketch book. I am working on this piece now. I have finished Julia's Pot mark II. I will take a decent picture to put on. I feel like I have wimped out a bit tonight but its 11.30 and I have school tomorrow, so I best get to bed!!
John eating icicles outside the studio!
Wednesday 20 January 2010
The kiln is-a-stoking
Kate Malone
I had a great weekend, I went to the London Art Fair at the Business Design Centre in Angel http://www.londonartfair.co.uk/. I didn't expect to see much ceramics there seeing as many people struggle to see clay as an art medium, what with the old arts craft debate. This is not a problem that I have! Well, what a surprise it was to see the Barrett and Marsden gallery just inside the door in a prime location, right near the Hirst's and all the other heavy weight art galleries. Check out the web site http://www.bmgallery.co.uk/ it is clearly a 'crafts' based gallery. Could it be that times are changing?
If that wasn't good enough there was MORE. While looking around the Barrett and Marsden stand I noticed a flash of bright red out of the corner of my eye, I turned around and lo and behold, it was the unmistakable giant red hair of Kate Malone, the single most famous a influential female ceramicist in England. In the world of ceramics it's like bumping into Nicole Kidman whilst browsing in your local film shop....(I chose her as a comparison because they have similar coloured hair). At this point I turned to my partner John and in a stage whisper I said 'Its Kate Malone'. I didn't do this intentionally to be heard, I promise, but heard I was, and Ms Malone turned around and as friendly and polite as you like she ...'Yep I am Kate Malone, are you two potters?' After this ensued a conversation where I explained I have been teaching her work at school and I said I would send her examples of the student's work, she offered the kids I teach the chance to visit her studio and one lucky student who was really keen would be able to work in her studio over the summer. (I would do it, and one of my teacher colleagues Jane also said that she would be Kate's 'bitch' given half a chance which I thought was very amusing) So all in all, a very interestingand worthwhile visit.
After the show we went for dinner in a lovely restaurant called the Afghan Kitchen across the road and had a really wholesome and healthy dinner. While John dashed off to the cash machine, because the little restaurant did not accept cards, I hefted out the book I had just bought called 'British Studio Pottery' and began to browse. A gentleman next to me asked 'are you a potter?'. It turned out he was a gallery owner who shows work by Mo Jupp who I share a studio with. He gave me some good advice on making applications to galleries. So when I eventually have decent body of work together I will make an application to the gallery. http://www.beauxartsbath.co.uk/
Over all I feel like this weekend's events were worth recording simply because they made the world of ceramics seem more attainable. I have a long way to go, ceramics is not a one hit wonder, flash in the pan kinda thing, and I know I have to work long and hard to build up my skills and a body of strong work. But I feel a bit more comfortable approaching people who are real players in the business.
Subscribe to:
Posts (Atom)