Tag Archives: historical ceramics

Inside the Black Church

The interior of the previous houses for the Magic Box and for The Empty room were furnished much like doll houses, beds, tables, chairs, dishes etc. and of course Magic Boxes and TV’s.  The interior of the church is radically different.  In the early planning stages of the project we were imagining a retirement home for gods, a place where they would play cards and wear fuzzy slippers.  As the concept distilled down and Ted’s role in the developing plot became clear it was obvious that absurd humor would not serve our needs. By the beginning of The Bear Cave project we were settled on a church for the last scene of the 4 part video project. Retirement however remained an important concept for the story so making the space both sacred and to refer to the history of the gods became the priority.  In the early planning I was still thinking of sculpting famous works in the round as I did with the stone woman, but as the space was built and “space” became important the idea evolved into relief carvings

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Images and gods were chosen from all over the world. Once one was decided on it was modified to fit the 3″ x 6″ tile slab and then was drawn in and carved.  There are 17 in all. In addition to the cultures that produced these images I was heavily influenced by wood block carvings for printmaking.

Once the carving was done and the images were complete, the originals were used to create slip casting molds, This was chosen for maximum translation of the detail. All were poured at once so that they could be kept on the same firing schedule. After bisquing the tiles were rubbed in a wash of 50% red iron oxide and 50% gerstley borate.

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The first pieces were taken and modified directly from historical images of the gods.  There were 12 of these:

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This image features gods from China and Japan: L to R the Shinto god of thunder Raijin; A Chinese Temple Guardian Dragon and The Buddhist god of anger and enlightenment Fudo Myoo. The featured image at top are gods from the Americas:  Yelth the raven from the American tribe the Haida,Kukulkan, the Mayan feathered serpent God and Mictlantecuhtli, the Aztec death God.

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From the top  L to R From Europe Lady or Venus of Willendorf and Minoan Snake Priestess/Goddess; From south-east Asia Ganesh, god of wisdom and learning and Shiva, god of the dance and destruction; From the Middle East and Africa is Enlil, sky god of Sumer and Annubis, Egyptian god of embalming and the dead.

During the cycle of making these image/objects, Gabe suggested we do some that were totally of our own making that would relate to the world of little animals that we have created in the videos. He developed images for two,  a frog and a bird.

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I took his images and translated them into the clay.

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For the last three I combined the concept of using a historical image but combined them with common animals that might have appeared in our world.

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L to R the pig is based on the monolithic figures of Easter Island, The rabbit is based on Europe’s horned god Cernunnos and the chicken lady is derived from Rangda, dreaded widow queen of the witches from Bali. For these I stayed fairly close to the original image and only modified where the greatest impact could be seen, primarily the head, as can be seen from the image of Cernunnos taken from the Gundestrup Cauldron.

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In addition to these 17 tiles and some new poses and looks for established characters I carved The Great One from Chinese images of Kuan Yin. This small sculpture is carved from a solid block, washed with the same mixture as the tiles and given a glaze accent for the garment.

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Inventing the Modern World

inventing4Rozenburg Haagsche Plateelbakkerij, The Netherlands (The Hague), 1883-1914. Milk Jug, 1900. Glazed porcelain with enamel. 108 x 40.6 x 33.7 cm. Designmuseum, Danmark, Copenhagen, 793.

 

One of the best things about the Ceramics Art and Perception assignment this semester is catching up on events in the ceramic community that I missed.  One of these that I most enjoyed was the review if the show “Reinventing the Modern World” that was staged by the Nelson Atkins museum in Kansas City in 2012. The show has toured some and so there are other museums that have sites dedicated to the show, but here is the original:

http://www.nelson-atkins.org/art/exhibitions/WorldsFairs/

The intent of these shows when they were first conceived was to showcase national manufacturing and design in a cooperative environment that allowed the spread of ideas globally.  There was also a fair amount for showing off, so the bet artists and craftspeople of a country were invited to participate, making it some of the best of the best work that a period had to offer.  The show focus’ on a period in which some ceramic was beginning to be designed for exhibition rather than domestic use, so these works have a very contemporary art piece feel.

inventing2Miyagawa Kozan, Japanese, 1842-1916. Vase, ca. 1904. Glazed porcelain. 35.6 x 31.2 cm. The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1904, 49.1912 Walters.

Much like the worlds fairs themselves, the show featured many different arts and crafts objects, such as furniture, glass and metal, but there was also a range of styles and approaches to the ceramic work.  This vase seems influenced by Paul Gauguin’s experiments with ceramic.  Its form and surface have an incredibly contemporary feel.

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Pierre Adrien Dalpayrat, French, 1844-1910. Vase, La Mer, 1898-1900. Glazed stoneware. 40.6 x 36.8 x 40.6 cm. Saint Louis Museum of Art, Richard Brumbaugh Trust in memory of Richard Irving Brumbaugh and Grace Lischer Brumbaugh and funds given by Jason Jacques, 7:2010.

The focus of this show is largely a historical one, what was the world like at the time and how were these Worlds Fairs influential in the making of culture, but I see a deeper significance in restating historical shows.  Disparate objects become a single work of art through the process of good curation.  How interesting then to consider this historical work restaged in a contemporary setting. Bringing these works together again has the power influence a new generation of artists and thinkers in a way that photos in a book or a single example in a museum just can’t do. At the very least, it reminds us working in the field today of our roots and provides inspiration for new ideas.

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Algot Erikson, decorator, Swedish, 1868-1937. Rörstrand Porslins Fabriker, manufacturer, Sweden
(Stockholm), 1726-1964. Vase, 1904. Porcelain. 42.3 x 18.4 cm. Cincinnati Art Museum, Museum Purchase with funds provided by Mr. and Mrs. William O. DeWitt, Jr.

Images for this post were taken from this site:

http://arttattler.com/designworldsfairsmodernworld.html