Loose Vowels

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

5-15-1974

Loose Vowels

Peggy Klineman

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Recommended Citation

LOOSE

VOWELS

By

Peggy

A.

Klineman

Candidate

for

the

Master

of

Fine

Arts

in

the

College

of

Fine

and

Applied

Arts

of

the

Rochester

Institute

of

Technology

Advisors:

Hobart

Cowles

Robert

Schmitz

James

Thomas

William

Stewart

TABLE

OF

CONTENT

1.

List

of

Illustrations

I

2.

Preface

II

3.

Lowfire

Work

1

4.

Colored

Clay

24

List

of

Illustrations

1.

Roller

Skate

21

2

.

Marble

Container

26

3.

Marble

Container

26

4.

Plaque

29

5

.

Planter

29

6.

Plate

32

7.

Bowl

32

8.

Plate

34

9

.

Bowl

34

10.

Snail

38

11.

Lids

40

12

.

Box

41

13

.

Box

41

14.

Box

47

15

.

Boxes

48

16.

Boxes

48

17.

Cups

50

18.

Box

54

19.

Box

59

20.

Bowl

62

21.

Plate

65

22.

Box

69

PRELUSORY

REMARKS

The

Thesis

report

was

conceived

as

a

diary

of

ideas,

pro

blems,

frustrations

and

fruitions

as

they

impinge

on

a

mind

searching

to

solve

the

myriad

problems

of

creative

expression

in

clay.

The

body

of

the

thesis

is

submitted

as

it

was

rendered.

It

is

short

of

perfection

in

grammar,

spelling

and

struc

ture,

but

it

does

reflect

thereby,

more

factually,

the

flow

of

ideas

and

the

convolutions

of

creative

activity.

It

is

interspersed

with

pauses

to

seek

solutions

to

tech

nical

problems

and

spurts

of

exuberantly

racing

thoughts

which

out-distance

the

mechanics

of

writing.

Notations

on

clay

body

compositions,

colorants

and

techniques

are

recorded.

All

the

elements

for

the

thesis

report

are

present.

It

seemed

to

me,

her

advisor,

that

Ms.Klineman

would

be

almost

certain

to

lose

the

flavor

and

zest

of

her

diary

if

she

should

attempt

to

render

it

in

the

usually

accept

ed

format.

It

was

my

suggestion

that

her

note-taking

be

reproduced,

un-edited,

with

all

its

flaws

as

well

as

its

flowing,

unaffected

reflection

of

her

learning

ex

perience.

Hobart

Cowles

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71

Conclusion

I've

just

begun

my

experimentation

with clay.

I

love

and

sometimes

hate

clay,

feel

simultaneous

_{excitement and}

frustration

in

my

work _with

it.

My

frequent

hatred

of

clay

is

born

out of

frustration.

The

clay

is

beautiful

before

it

has

been

manipulated.

I

must

try

to

control

it,

force

it

to

conform

to

my

shapes

_and

ideas

while

deforming

these

natural

qualities.

The

hatred

_and

frustration

also comes

from

not always

having

a

concrete

idea

of what

I

want,

and

from

dissatisfaction

_{with what}

I

produce.

My

work

is

a

constant

experimentation

with what

I

can

do

with clay.

When

I

sit

down

to

make a series of plates or

boxes

each

is

dif

ferent.

The

successes of one

lead

me

to

the

next.

With

each

object,

_questions arise:

What

if

I

try

adding

more

blue?

Maybe

I

can

fold

the

clay

under

instead

of up?

Sup

pose

I

draw

a

line

with

slip,

or

incise

a

line,

eliminate

a

curve,

or change

the

positions of colored areas?

It

is

a matter of

trial

and

error,

of

trying

different

_possibil

ities,

finding

what

looks

the

best

and

feels

most comfor

table.

I

may

do

twenty

platters

before

I

make one which

has

the

proper portions and

balance,

and

I

can consider

it

successful.

The

excitement of

these

continuing

progres

sions

has

led

me

to

try

many

different

techniques.

I

have

been

extremely

influenced

by

everything

and everyone

I

come

in

contact

with,

and

my

flexible

approach makes

it

easy

to

incorporate

new

ideas

. [image:77.538.48.471.116.700.2]

72

color.

When

I

first

came

in

contact

with

bright

colored

glazes

I

had

to

try

them.

Seeing

clay,

which

had

always

been

functional

_and

rather

earth-related,

in

_new

images

and color

captivated

me,

but

the

glazing

process was

too

slow and

the

color was

too

removed

from

the

clay

itself.

It

seemed as

though

I

_was

working

on

two

separate pieces:

First

the

form,

and

later

the

form

with color.

Therefore,

I

began

testing

to

incorporate

the

color

in

the

clay.

By

simplifying

the

process,

I

am now able

to

concentrate all

my

efforts

towards

color,

design,

and

form

in

the

same step.

I

am

trying

to

use

clay,

with all

its

properties of plas

ticity

and

the

ease with which

it

takes

on

form

to

create

and play.

I

sometimes

feel

that

I

am

battling

to

exhaust

the

clay,

but

it

always

survives,

filled

_{with new possibi}

lities.

Before

I've

explored one

direction

to

its

end

I

see

something

else which

I

want

to

try.

The

way

two

lines

meet,

or a

fold

in

the

clay

may

suggest

something

new.

I

immediately

want

to

explore and see

how

I

can

develope

it.

I

have

a great

many

more

tests

which need

to

be

done

to

find

colors which

harmonize

and work

together

and

forms

which are suitable

to

the

clay.

I

am now

striving

to

sim

plify

and unclutter

my

shapes,

make

them

definite.

As

I

finish

my

thesis

work

I

am

uneasily

aware

that

I

must choose

from

among

the

directions

I've

uncovered,

and

I

hate

to