The Australian National University
Institute of the Arts
Canberra School of Art
GRADUATE DIPLOMA of ART
1997
VICTORIA EDGAR
REPORT
PRESENTED IN FULFILMENT OF THE REQUIREMENTS
OF THE
Abstract
Acknowledgements
Salutations to Alan Watt, -my apprenticeship should serve me well. Thanks to Greg whose exquisite choice of pastries and other sweet meats for the ear, has got me through the year. Konichiwa Anita sensei. porcelain saki cups are next. Hiroe baby, heres to 'wabi' and 'sabi'! Good luck with another bunch of associate dip students next year? Oh Michael how can 1 express my undying gratitude, kilns, phones and other instruments of torture. Put the kettle on I'm nearly finished, Janet, thanks for the timely support.
Stephen Proctor your perspicacity has provided much illumination.
Heartfelt thanks to the Angela Moser (colour photography) and Kate Ford ( B & W photography), students in Photo Media, neither of whom could spare the time but did it anyway.
I'd also like to acknowledge the support and technical advise received from Lee Wellings from the A N U Research School of Chemistry.
Dearest Bee, thank you for rescuing some seminal pieces I'd tossed out, in a fit of pique. Without you 1 may have been left exhibiting found objects.
Luci, mummy will be home soon!
I'd like to thank all the other students, colleagues, peers, security hounds, misfits and ferals as well as all the significant others who have contributed 'till the end.
Contents
List of Work i
Preface ii
Introduction 1
The Concept 3
The Work 5
Technical methods 20
Influences 22
Conclusion 24
References 25
Bibliography 26
Proposal 29
List of Work
Ema 6
Shigaku-in Waters 7
Torii-Path 8
Obi 9
Drift 10
Andon 11
Toro 12
Cloister 13
Gaze 14
Cradled 15
Oracle 16
Demado 17
Shqji 18
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Introduction
In 1995 1 com p l e t e d an Associate D i p l o m a in Visual Arts, ceramics. The work I c o m ple ted during my Associate Diploma focused on fragility and translucency. The primary inspiration for this work was to develop carefully balanced pieces containing tension of f o r m , weight and colour.
While I felt this work to be entirely successful, there remained a need to continue a search for further expression in this m e d i u m . Supported by the head of w o r k s h o p and the course c o n v e n o r 1 re-enroled in 1996 at the art school to do this Post Graduate course in ceramics. I proposed at the beginning of this course to further m y quest to find purity of f o r m and spirit within the vessel. T h u s developing the tension of weight and light and the problematic tension that co-exists in a potentially functional vessel, which is also art.
There are m a n y artists w h o deal solely with this issue. I realised early in this work that the issue of containment, while present, was not paramount to the work. I feel I can align myself closely to the sentiment of Alison Britton when she stated:
"My work belongs on the "outer limits" offunction- where function or a reference to a possible function is crucial but is just one ingredient in the final presence of the object and not its only motivation." (Cripps et al(A) 1985 :31)
This recent body of work initially started via wheel thrown porcelain. With c o n f i d e n c e this process followed directly in method f r o m my earlier studies. H o w e v e r I was unprepared for the changes my work took, and six months into the course 1 needed to break free f r o m the constraints of the potters wheel.
The scale of m y w o r k continued to be of a domestic scale. 1 started to experiment with paper clay and the pieces grew in size. I liked the possibility that this clay had for allowing light to still pass through. By using the paper clay in slab built
construction it allowed me to work in a very spontaneous way. I set about using what I like to call a "Stream of Consciousness" method of working, or as Alison Britton explains
"The ideas are not decided on before hand but come in response to the form the piece has arrived at" (Cnpps et al (A) 1985: 15 )
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Concept
It is i m p o s s i b l e t o i s o l a t e s e l f f r o m o n e ' s c u l t u r a l b a c k g r o u n d a n d h i s t o r y . T h e
t r a d i t i o n s I g r e w u p w i t h a r e o f a m i d d l e c l a s s W e s t e r n E u r o p e a n c u l t u r e , s o m e w h a t d i s l o c a t e d h e r e in A u s t r a l i a . A t r a d i t i o n o f " W h i t e C h r i s t m a s " in t h e m i d d l e o f
s u m m e r . A t r a d i t i o n o f n u c l e a r f a m i l y a n d e x t e n d e d f a m i l y , e a c h in its p r o p e r p l a c e . A r o u n d t h i s " p r o p e r p l a c e " a n a s s o r t m e n t o f d e c o r a t i v e o b j e c t s all a s c r i b e d a p r e c i o u s
i m p o r t a n c e f o r d o m e s t i c rituals. M a n n e r s a n d p r o p r i e t y h e l d in c h e c k by linen a n d
c h i n a . S o e a s i l y s t a i n e d a n d b r o k e n , s h a t t e r i n g t h e d e s i r e d c a l m a n d o r d e r d e e m e d n e c e s s a r y t o h a v e d o m e s t i c h a r m o n y . T h e p r e s s u r e o f c h i l d h o o d r e s i d e d in b e i n g
e x c i t e d a n d f e a r f u l o f t h e s p e c i a l o c c a s i o n . E m b r a c i n g t h e p o m p a n d c e r e m o n y w i t h b o n e c h i n a c u p s a n d s a u c e r s . All t h e w h i l e a n x i o u s o f s h a t t e r i n g t h e i l l u s i o n b y
a c c i d e n t a l l y s h a t t e r i n g a c u p . L i k e a s t o r m in a t e a c u p a n d a bull in a c h i n a s h o p it is t h e s e p l a t i t u d e s o n p r o p e r b e h a v i o u r t h a t r e i n f o r c e t h e m e t a p h o r o f c h i n a a n d life.
I find t h e p r e s e n t s h a p e d t h r o u g h t h e f r a c t u r e a n d c o n f l i c t o f m y past. T h i s is
e x p r e s s e d e l o q u e n t l y b y L a i n g w h e n h e s a y s :
"The view of self as shaped through fracture am! conflict rather them stability" ( Laing, RD. Deleuze and Guattan. cited in Unknown (A):
123)
I s t a n d like a c h i l d w a n t i n g t o r e j e c t t h e p e r f o r m a n c e p r e s s u r e o f t h e s e p r e c i o u s
f r a g i l e o b j e c t s . T o t a k e a n a x e t o t h e c h i n a c a b i n e t , filled w i t h i r r e v e r e n c e a n d yet...I
a m u n a b l e to d i v o r c e m y s e l f f r o m t h e d e e p d e s i r e to h o l d a n d c r e a t e o b j e c t s that stir t h e s e t e n s i o n s .
In m y w o r k I s e e k t o b o r r o w t h e p a s t e x c i t e m e n t a n d e v o l v e it i n t o s o m e t h i n g
s p i r i t u a l l y n o u r i s h i n g f o r t h e p r e s e n t . T h e v e s s e l s at t h e b e g i n n i n g o f this q u e s t w e r e all i n d i v i d u a l p i e c e s but t h e y c a m e in series. T h e s i z e o f m y w o r k h a d t o e m b r a c e t h e
q u i e t c o n t e m p l a t i o n o f a s i n g l e c u p w i t h i n a f u l l d i n n e r s e r v i c e . I e n d e a v o u r e d to f i n d t h e s p i r i t u a l p o w e r o f a c o n g r e g a t i o n t r a n s f o r m e d into t h e h e i g h t e n e d e x p e r i e n c e
felt b y t h e i n d i v i d u a l .
P o t , c u p s , v e s s e l s , c o n t a i n e r s , I w a s b e i n g i n u n d a t e d by m y o w n e n d e a v o u r . B u t I
w a s n ' t g e t t i n g a n y c l o s e r to t h a t q u i n t e s s e n t i a l f o r m t h a t w o u l d e x p r e s s e v e r y t h i n g I w a n t e d . I left t h e c o n s t r a i n t s o f t h e p o t t e r s w h e e l a n d s t a r t e d s l a b b u i l d i n g t o c a p t u r e
t h e t e n s i o n a n d i r r e v e r e n c e 1 w a s f e e l i n g t o w a r d m y t r a d i t i o n . A sort o f " a n t i f o r m " , s y m p a t h e t i c t o t h e i n t e n t I felt E v a H e s s e c o n v e y e d w h e n s h e said:
"Antiform -the call for freedom from the repressiveness of traditional formalist painting and sculpture" (Unknown (A) 1992: 123)
I felt a n e e d t o b r e a k f r e e f r o m t h e c o n s t r a i n t s o f a w h e e l t h r o w n c e r a m i c s t r a d i t i o n . I
w a s at t h e s a m e t i m e b e i n g r e p u l s e d b y t h e s t u f f i n e s s o f t h e p a s t a n d s e d u c e d by t h e
s h e e r b e a u t y o f p o r c e l a i n . C h a o s r e i g n e d in t h e s t u d i o a n d I w a s lost in a sea o f fired
In S e p t e m b e r I participated in an e x c h a n g e p r o g r a m at Kyoto-Seiica University, J a p a n . Here I participated in c e r a m i c w o r k s h o p s , visited galleries, m u s e u m s and w o r k s h o p s .
Whilst in J a p a n I w a s deeply struck by the inner h a r m o n y o f the J a p a n e s e people. A nation c r e a t i n g the leading e d g e in t e c h n o l o g i c a l a d v a n c e m e n t and h o u s i n g it in a t e m p l e full o f soul set in tranquil g a r d e n s . S t e e p e d in tradition and p r o c e s s e s full of ritual practice, I k n e w that what these p e o p l e h a v e in their culture w a s w h a t I w a s trying to d e f i n e for mine. A reconciliation b e t w e e n past and present, o b t a i n a b l e only by p u r s u i n g t h e path o f simplicity, purity and light.
I a m c o m p e l l e d to t a m p e r with the purity o f the w h i t e b o n e china. W h i l e
a c k n o w l e d g i n g the right of the w o r k to m a i n t a i n its place in the j o u r n e y , I search for a purely aesthetic experience. T h e m a r k s m a d e w i t h the mineral salts are a taint that m u s t be c o a x e d out of each piece on the path to an ascetic end result. T h e r e is an e l e m e n t o f c h a n c e and surprise with every piece d u r i n g firing that places each w o r k o n the p a t h t o w a r d ritual purity.
O n r e t u r n i n g to Australia, I decided to loosen the shackles o f my British heritage and push the b o u n d a r i e s o f m y traditional b a c k g r o u n d o f porcelain and b o n e china. O t h e r c e r a m i s t s h a v e preceded m e in d o i n g this. It felt like sacrilege to m o v e f r o m the beauty and s y m m e t r y o f traditional w h e e l t h r o w n pots. I took faith f r o m the i n f l u e n c e s o f visiting artists Jindra V i k o v a , and Phillip C o r n e l i u s both of w h o m build f o r m s with slabs of porcelain. H o w e v e r , unlike t h e m , I have not used glaze finishes. I c o n t i n u e d to w o r k primarily with the b o d y o f the porcelain staining it in a p i o u s m a n n e r , w i t h controlled d o s e s of mineral salts in solution.
T h e final w o r k presented here is c o n c e r n e d with c a p t u r i n g light and fragility, to e n h a n c e the texture w h i c h is created in a variety o f ways. Initially, using a large c e r a m i c s tool called a rib, I w o r k the s u r f a c e of the wet sheet of slip. T h e results are a series o f a s y m m e t r i c cylindrical vessels. T h e s e e c h o a functional f o r m , yet e x u d e a fragility w h i c h distance t h e m f r o m p u r e f u n c t i o n . By firing in oxidation I a m able to c a p t u r e the w a r m t h of ivory w h i t e and increase the p a r c h m e n t like translucency o f the porcelain. It is this that helps the p i e c e to transcend time and place.
B r a d l e y ' s t i m e l e s s q u o t e expresses the c o n t i n u i n g possibilities o f art w h i c h I strive for:
" The Nature of a work of Art is to he not a part, nor yet a copy of the real world (as we commonly understand that phrase). But a world in itself independant. complete, autonomous: And to possess it fully you must enter that world, conform to its laws, and ignore for the time the beliefs, aims, and particular conditions which belong to you in the other world of reality. " (Oxford Lectures on Poetry: Professor Bradley: 1901 cited in Winterson 1995: preface).
Shigaku-in Water. 1997 10 X 19cm
Cloister. 1997 9 X 21cm
Gaze. 1997 13 X 19cm
Cradled. 1997 1 6 x l 9 c m
Demado. 1997 11 x 2 1 c m
Technical M e t h o d s
" The real journey begins at the moment of the making when skills materials processes and knowledge are brought into union launching mind and body into the space of the unconscious. " (Mc Grath 1992: 46)
Paper clay was used for many of the exploration pieces to develop my ideas. The pieces in my final works are not made with paper clay. However, this research was invaluable as a critical component in the development of the final body of work .
I first learned of paper clay from Trudy Golley, an artist in residence at the Canberra School of Art in 1996. Trudy uses hand building, slab building and moulding techniques with paper clay. I was struck by its versatility. My exploration with paper clay used the Limoges porcelain casting slip blended with 100 % cotton lint paper pulp. The slip was blended to a thick porridge consistency with approximately 30% pulp to clay by volume.
With this mixture I first started my experiments with slab building. These pieces were fired to 1220 degrees Celsius in oxidation and reduction. There was some slumping of the vessels, so as time became critical I discarded this process. I envisage returning to this method as it has great potential.
Current working method
Onto a large glass smooth plaster slab I pour a sheet of Limoges slip. At this stage I
work upon the surface to create patterns and designs by spattering and scattering the liquid slip before it sets. This seemingly casual mark-making determmes the shape and outcome of the vessel as it is the pattern which directs my construction of the form. It is then joined with thin slip and the shaped slabs are pressed together. The next stage is a bisque firing to 1100 degrees. The rough edges are then sanded away with wet and dry carborundum paper.
T h e c h e m i c a l s used in the surface colouration are diluted in solution to produce the following effects:
Mineral Salt
Cupric chloride C u C l , . 2 H 2 0 Copper Nitrate
CU(N03)2.3H20
Copper Sulphate Cu S O j Cobalt C a r b o n a t e C oC O , Cobalt Chloride C o C l ^ e u p Ferric chloride F e C l j Uranyl Nitrate UO.CNOjXHjO
Phosphoric acid H j P O j V a n a d i u m pentoxide V, O,
Fired in Reduction
Pinks Pinks Pink Blues Blues Browns Brown/yellows Halo effect Black/grey
Fired in Oxidatioin
Green Greens Grey Blues Blues Oranges Brown/yellow Halo effect. Yellow/speckles
It must be stated for the record that all of these chemicals are highly toxic to handle prior to firing. Conscientious storage, h a n d l i n g and firing are obligatory to ensure a safe studio environment. T h e toxicity burns off in the kiln and render the vessels safe to use and handle.
The second firing is to 1220 degrees Celsius in oxidation for both the Limoges and the bone china. The attraction in firing the vessels in oxidation, is to capture a sense of parchment like translucency. The third firing for both the bone china and Limoges is only necessary for the vessels with further chemical colouration. This is fired to
Influences.
It is a l w a y s difficult to isolate our influences. T h e y seem to be everywhere. The f o l l o w i n g list is o f the p e o p l e w h o c o m e most to m i n d at point of writing.
Paula W i n o k u r . U S A . M a k e r of architectural slab work in porcelain. Ruth D u c k w o r t h . U S A . M a k e r of sculptural vessels in porcelain. Philip C o r n e l i u s . U S A . For his porcelain thin ware.
R u d o l f Staffel. U S A . T h e most exquisite hand built and altered porcelain vessels.
M a r y Rogers. E N G . M a k e r o f delicate porcelain pinch pots. A n g e l a V e r d o n . E N G . Carver of slip cast b o n e china.
Jindra V i k o v a . C Z E C H . For her sculptural use of porcelain slip. G w y n H a n s e n - P i g g o t t . A U S T . Marker of t h r o w n Porcelain vessels. A n o l d A n n e n . S W I T Z . Creator of very finely thrown porcelain bowls. A r n e Ase. N O R W A Y . Inspired by his use of metal salts on fine porcelain.
Kristin A n d r e a s s e n . N O R W A Y . M a k e r of slab built and slip decorated porcelain .
Sueharu F u k a m i . JAP. Sculptor of elegant celadon glazed porcelain f o r m s .
R y o j i Koie. J A P . For his loosley t h r o w n porcelain vessels. W h i l e all of the a f o r e - m e n t i o n e d artist work in Porcelain, I have also recieved e n o r m o u s e n c o u r a g e m e n t f r o m the w o r k s of m a n y painters. S o m e have directly a f f e c t e d m y m a r k - m a k i n g , while others have influenced my thinking. They include:
T h e C a n b e r r a School o f Art PubHc F o r u m P r o g r a m m e supported by the extensive r a n g e o f visiting artists has been an on g o i n g source o f inspiration. This culminated in the s u c c e s s f u l International C e r a m i c s c o n f e r e n c e held at the Canberra School of Art in 1996. I f o u n d it a unique o p p o r t u n i t y to participate in w o r k s h o p s , attend lectures and meet m a n y of the visiting international artists. Artists such as Alison Britton, m a k i n g her u n c o n v e n t i o n a l f o r m s . T h i s preceeded m y o w n work in slab building a n d she s h o w e d m e a f r e e d o m in clay, helping m e to o v e r c o m e a precious a p p r o a c h to m y w o r k . Jindra V i k o v a also w o r k i n g in slabs, using porcelain, re-iterated this f r e e d o m of approach. I h a v e since f o l l o w e d their work in j o u r n a l s and a m c o n s t a n t l y r e n e w e d .
Hideo M a t s u m o t o , w h o s e professional w o r k ethic and discipline coupled with intense f o c u s and great imagination, g a v e m e an understanding of what is required for an o n - g o i n g artistic practice.
Conclusion
"/ look al the emotion residing in the form. To realise my goal of "finding out through the working of the piece things you don't know" of allowing the work itself to redefine or define the next step. "(Unknown (A) 1992: 89 )
W h i l e I e n j o y e d t h e s u c c e s s o f c o m p l e t i n g m y A s s o c i a t e D i p l o m a . I felt I n e e d e d to
c o n s o l i d a t e m y w o r k p r a c t i c e . It h a s b e e n a n e s s e n t i a l e i g h t e e n m o n t h s d o i n g this G r a d u a t e D i p l o m a . M y k n o w l e d g e o f p r o c e s s , p o r c e l a i n a n d firing h a s b e e n
e x t e n d e d t o a p o i n t o f i n t e r n a l c o n f i d e n c e a n d e x t e r n a l c o m p e t a n c e . I h a v e a m u c h
c l e a r e r d i r e c t i o n f o r m y w o r k , a n d h a v e d e v e l o p e d a s t r o n g w o r k ethic. M o s t i m p o r t a n t l y 1 h a v e d e v e l o p e d a s t r o n g style a n d a "can d o " b e l i e f in m y s e l f
T h e r e w e r e m a n y s o j o u r n s o f d i s c o v e r y d u r i n g t h e y e a r w i t h w h e e l t h r o w i n g a n d
p a p e r c l a y . W h i l e t h e s e d i d n ' t result in f i n a l w o r k s f o r this year, t h e o u t c o m e s c o n t a i n e d c o n s i d e r a b l e f o o d f o r t h o u g h t . N e x t y e a r I plan t o w o r k c o m b i n i n g w h e e l t h o w i n g a n d s l a b b u i l d i n g t o d e v e l o p a d o m e s t i c vessel w h i c h is s y m p a t h e t i c t o this y e a r ' s w o r k .
"To enter wilderness is to court risk and risk favours the senses enabling one to live well. The landscape we know and return to become places of solace. We are drawn to them because of the stories they tell, because of the memories they hold or simply because of the sheer beauty that calls us back again and again. "(Tempest- Williams. 1992: )
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Proposal
R E S E A R C H P R O P O S A L F O R T H E G R A D U A T E D I P L O M A (by Studio Practice )
T o gain a c o m p r e h e n s i v e w o r k i n g k n o w l e d g e of water soluble colorants (metal salts) on p o r c e i a i n e o u s bodies. These bodies will be wheel thrown functional f o r m s in a fine Limoges porcelain. T h e concept to be explored will be an extension of the work begun in this area
d u r i n g m y final s e m e s t e r in c e r a m i c s during 1995. It was during this period that I
d i s c o v e r e d the m e d i u m of metal salts on porcelain and consequently produced a successful b o d y of work. T h i s has e n c o u r a g e d m e to apply for further study.
T h e water soluble colorants are metal salts from the chloride, sulphate and nitrate families. W h e n diluted or used in concentrated form they produce varying degrees of colour intensity.
M y proposal is to explore these variations by experimenting with a variety of c o m p o u n d s , d i f f e r e n t firing conditions and the incorporation of ceramic pencil and surface modification to create textural visual illusions. Like a water mark on paper the marks will c o m e to the f o r e w h e n u n d e r lighting. The aim of this is to create a sense of religiosity in the viewer. I wish to heighten the ephemeral nature of my work, further than in my Associate Diploma w o r k .
By c o m b i n i n g the m e d i u m s , of metal salts with ceramic pencil, I am able to produce
controlled drawings. In conjunction with these, 1 can make fluid marks onto 'water colour' like porcelain backgrounds. The French porcelain clay provides the perfect white 'canvas' with the a d d e d beauty of translucency and delicacy. Relating directly to the conceptual desire, to a c h i e v e spiritual e l e m e n t s in each piece.
T h e s e f o r m s at present are functional vessels. As part of this work proposal I would like to d e v e l o p the f o r m s alluding to function. I am open to extending this into more sculptural f o r m s . By using either thrown, slab or extruded additions.
I intend to strengthen my k n o w l e d g e of the chemical salts by contact with the A N U
C h e m i s t r y D e p a r t m e n t . T h u s far they have been very supportive
T i m e f r a m e .
M a r c h - J u n e .
1. Exploratory Phase.
a) T e s t i n g of metal salts for a colour palette b) T e s t i n g of Porceiaineous Bodies.
c) T e s t i n g of firing conditions on the 'above'. 2. W h e e l thrown vessel f o r m s - to throw larger forms.
3. Test design concepts with the metal salts, ceramic pencils, crayons and oxides.
July- October.
Consolidation of the above and w o r k s in progress. Further r e f i n i n g of the form, colour and design. O c t o b e r - M a r c h
Final b o d y of w o r k for exhibition to begin in October and to reach completion by March
Curriculum Vitae
Victoria Edgar
E d u c a t i o n .
1997. Graduate D i p l o m a o f Art, A N U . Canberra School o f Art. 1995. Associate D i p l o m a in Ceramics. A N U . Canberra School o f Art. 1979. Bachelor o f Arts in Dramatic Art. Victorian College o f the Arts.
E x h i b i t i o n s .
1997 Ginninderra Craft Gallery. Ginninderra. 1996 Strathnairn Gallery Canberra.
1996 St, Josephs Art Expo. Hunters Hill, Sydney.
1995 " V E N I V I D l V I C I " Final year student exhibition. Canberra School o f Art Gallery.
