Ceramics

Making Process - Glass Houses 

Title: Glass Houses (left side angle)
Media: Busts- stoneware clay,
acrylic modelling paste, acrylic paint, hair,
metal, fabric, superglue.
Box - plexiglass.

Stoneware clay was chosen to mould the busts, for its strength and resistance. The first ceramic head was moulded to stand on a flat ground surface. A series of 6 smaller heads were also moulded, so that they can be placed vertically against a wall. All busts were hollowed. This prevented accidents in the kiln, caused by trapped air. Hollowing the heads also made them lighter (ranging from 1.8-2.6 kg), allowing the six smallest ones to be hung. A large rim was left on the back of the busts, on which to attach hooks for hanging. All busts were bisque-fired at 960oC. 

After firing, the sculptures were covered in white acrylic modelling paste, to provide a smooth surface for painting. Acrylic paint was used in the painting process. Hair from wigs was cut and superglued to the scalps. A small amount of superglue was placed above the eyes, to which trimmed hair was added, to form eyebrows. Other accessories were also bought, to include a hat, glasses, and false eyelashes, These were all attached, using superglue. I wanted the busts to be realistic so that the idiosyncrasies and originality of each subject could be exposed, to almost humorous effect. 

The box in which the busts were placed was constructed from plexiglass. Plexiglass pieces were cut and glued together with silicon. Metal hooks were drilled into a thicker (10mm) central plexiglass piece, to attach the heads. A grey sticker was also stuck to the central pane, so that the back of the busts is not visible. This neutral colour was chosen to not distract focus from the heads. 

Playing with the proverb ‘those who live in glass houses shouldn’t throw stones’, the artwork emphasises that each individual is flawed and idiosyncratic. The busts are enclosed in compartments, to show human barriers which result from cultural differences. Yet, they are all held in one structure, so their similarity as human individuals is emphasised. The back-to-back placement highlights the metaphorical distance between individuals. Most importantly, it allows the audience to walk around the sculpture and examine each bust. 

Above: Man's head (unpainted)

Above: Man's head (painted)

Above: Ceramic busts used in Glass Houses (unpainted)

Above: Ceramic busts before and after painting

Above: Scaled plexi-glass box design for Glass Houses

Above: Glass Houses from 3 different views

Ceramic trials for In Suspense (unmade artwork)

Stoneware clay was used. After moulding, the bust was hollowed,  forming a passageway for air to pass between the mouth and base. This was to avoid air bubbles trapped in the clay from expanding in the kiln, causing the sculpture to break.  The shell-like form was made using a round press-mould. The clay was extended over the edges of the mould to form the abstract “wave” of the shell edges. The pearl was scoured and attached to the bottom of the form using slip. Both sculptures were bisque-fired at 960oC, in order for the clay to vitrify. The bust was painted in acrylic paint, which allowed for more tonal gradation than if glaze had been used, achieving a more realistic effect. 

The artwork was unfinished due to difficulties in constructing the base. This is to be made from a wooden board, into which a metal suspending piece is drilled. A string and hanging ceramic ball is to be attached to the end of the metal piece.

Title: In suspense (compositional study) Medium: pen on brown paper

Title: Colour-experiments for In Suspense

Above: In Suspense ceramic trial
Medium: stoneware clay, acrylic paint