Uncanny
Objects in Clay
with
Juz Kitson
September 23-Oct 6, 2018
Join
this experimental hand-building course to create individualized ceramic objects
for a unique and personalized installation while exploring the unique
properties of various clays, such as porcelain, stoneware and terracotta in
potential juxtaposition. Juz Kitson,
your everyday shaman-goddess-ceramicist, will offer instructive, practical
demonstrations on how to push and pull the materials by hand, building up forms
and preparing surface treatments. Encouraging the drawing of inspiration from
the natural world and the studio’s lush tropical surroundings, the workshop
will focus on the familiar and unfamiliar, the internal and external
environments, as well as on human and animal forms. There will also be discussion and
experimentation with combining other materials with the ceramics and exploring
different ways of installing/displaying final works.
Moving
away from the traditions/confines of plinth and/or wheel, Juz thoroughly
encourages the crossing of boundaries, mixing of medias, challenging of perceptions
of the material and the creating of avant-garde works—all while enjoying the
evolution of process along the way.
Concepts:
o
The
Uncanny
o
The
Natural V’s Manmade
o
Bleaching.
Devastation on the reef.
o
Natural
wonders/ disasters
o
Familiar
and unfamiliar landscapes
o
Interior
and exterior, human and animal forms
o
Pre-science
experiments
o
The Wunderkammer - Cabinet of Curiosities
For students further reading:
C-File Online
Ceramic Review Magazine
The Journal of Australian Ceramics Craft International
Ceramics Art and Perception Magazine Ceramics Monthly
INTRODUCTION:
For our two-week intensive
workshop first and foremost it’s about ceramics, exploring the material to
create ‘Uncanny’ objects that will come together as a collection or
installation.
Our starting point is The ‘Uncanny’ which represents the strange and mysterious, especially in an unsettling way. It is described as eerie, unnatural, supernatural, unearthly, other-worldly, unreal, ghostly, mysterious, strange, abnormal, odd, curious, weird, bizarre, freakish...
Within my own artistic practice over the last ten years I have worked to push perceptions of ceramics and what you are ‘supposed’ to do - learning traditional notions and ways of making only to turn them upside down and create my own unique voice in the ceramic and contemporary art world. And it’s something I want you to consider during our workshop - how can you re-invent a material steeped in history.
Our starting point is The ‘Uncanny’ which represents the strange and mysterious, especially in an unsettling way. It is described as eerie, unnatural, supernatural, unearthly, other-worldly, unreal, ghostly, mysterious, strange, abnormal, odd, curious, weird, bizarre, freakish...
Within my own artistic practice over the last ten years I have worked to push perceptions of ceramics and what you are ‘supposed’ to do - learning traditional notions and ways of making only to turn them upside down and create my own unique voice in the ceramic and contemporary art world. And it’s something I want you to consider during our workshop - how can you re-invent a material steeped in history.
My exploration began in my
undergraduate degree at The National Art School in 2008 and it was the ceramics
department that I felt were the most open to experimentation and working in a
cross-disciplinary way. Given the time and freedom to explore / experiment
through trial and error is a huge part of any creative practice and especially
our course over the next two weeks.
OUTLINE/ OUTCOME:
I want each of you to challenge
yourself with each clay body through developing a series of objects/ works that
explore your own personal interests / ceramic or contemporary artists of
interest and intensely immersing and focusing on this body of work for the
duration of the workshop; I will work individually with each student to develop
and refine skills and guide everyone to draw, collage and collect resources and
inspiration and document it in your visual diaries.
Also considering ways of
installing the finished works.
Will the works be freestanding? Wall based? Or mounted onto a shelf?
What other components could you combine to the ceramic objects?
Natural fibres, resin, wood, cement, latex and found objects, etc.
Could you create structures out of the clay to display the pieces and use a combination of other materials like fabrics or fibre or introduce juxtaposing materials like rock/ wood and concrete. This workshop is completely open to pursue any of the above.
Intently focusing on the wonderful world of Ceramics and enjoying the process along the way.
Will the works be freestanding? Wall based? Or mounted onto a shelf?
What other components could you combine to the ceramic objects?
Natural fibres, resin, wood, cement, latex and found objects, etc.
Could you create structures out of the clay to display the pieces and use a combination of other materials like fabrics or fibre or introduce juxtaposing materials like rock/ wood and concrete. This workshop is completely open to pursue any of the above.
Intently focusing on the wonderful world of Ceramics and enjoying the process along the way.
Like in my own practice I never
see entirely finished works - they are always works in progress, one work will
ultimately lead into the next, it’s a process of evolution and as you become
more familiar with the material, your ideas and through experimentation you
will end up with a narrative of works that will tell a story; your individual
story.
I will give instructive
demonstrations on how to build up hand-built and tool formed symmetrical,
textures and surface treatment with porcelain/ stoneware and terracotta and
explore new ways of making but more importantly I will guide you individually
to create your own individualized body of work.
Firing
techniques will include high fire oxidation, Raku and black saggar firings.
Sept. 23, SUNDAY: WELCOME DINNER
6pm MOKSA Restaurant opening of the workshop with a
sumptuous meal, a time for introducing ourselves and getting to know the group.
Each student introduces
themselves and speaks briefly of their ceramic/art experience? And what
attracted you to the course? What ideas are you interested in?
_________________________________________________________________________________
Sept. 24, MONDAY: INTRODUCTION
Introduction to GAYA
studio/facilities.
Powerpoint presentation:
Juz gives an in-depth look into her practice to date and experiences being based in an ancient porcelain city in China, exhibiting nationally and internationally and what motivates her to continue to pursue her practice creating ambitious porcelain and mixed media installations.
Juz gives an in-depth look into her practice to date and experiences being based in an ancient porcelain city in China, exhibiting nationally and internationally and what motivates her to continue to pursue her practice creating ambitious porcelain and mixed media installations.
Course outline/ overview-
Description of reference/inspiration points for individual projects - The
Natural world (landscapes, coral reefs etc..) Familiar and Unfamiliar
environments, Internal and external environments (both in human and animal
forms) and the Cabinet of Curiosities/ Wunderkammer.
Demonstration: Building a basic interior
structure/ maquette.
Creating textures / surface treatment and building form with hands only (no tools yet) - forms that are reminiscent of flora and fauna.
Creating textures / surface treatment and building form with hands only (no tools yet) - forms that are reminiscent of flora and fauna.
Activity: Select one image from
Juz’s collection of succulents, cacti and flora and fauna and re-create it /
re-interpreting the form so it is an exact representation or is of the essence.
This exercise gets you looking at the form and understanding the complexity of
structure within natural forms.
Focus: developing form, detail,
texture, structure, composition and surface treatment.
(these forms will be saggar
fired and raku fired)
_________________________________________________________________________________
Sept. 25: TUESDAY: CROSSING THE BOUNDARIES - International
Artists
Powerpoint Presentation:
Introduction of Key International artists working with Ceramics.
Working internationally pushing the boundaries of ceramics on a contemporary platform. International Artists include; Rachel Kneebone, Grayson Perry, Antony Gormley, Ai Wei Wei, Ikuko Iwamoto, Beth Cavaner, Kate Malone, Jason Briggs, William Cobbing, Crystal Morey, Phoebe Cummings, Zemer Peled, Crystal Morey, Takuro Kuwata, Claudia Fontes, Aneta Regal, Edward Eberle.
Demonstration:
Using Tools/
objects/ natural found material to create surface treatment - dots, punctures,
stitching, folding, piercing.
Referencing
a selection of previously mentioned ceramic artist techniques to explore new
ways of making.
Activity: Select one of the Artists
mentioned in the Power point presentation and re-create an object inspired by
their work (or an artist of your choosing). Exploring form and surface
treatment.
_________________________________________________________________________________
Sept. 26, WEDNESDAY: CROSSING THE BOUNDARIES - Australian
Artists
Powerpoint
presentation: Introduction
of Australian Artists working with Ceramics--
Jenny Orchard, Nell, Brendan Huntley, Lynda Draper, Steven Bird ,Glenn Barkley, Ben Quilty, Philippa Taylor, Vippo Srivilasa, Karlien Van Rooyen, Steven Bird, Madeleine Preston, Phil James.
Jenny Orchard, Nell, Brendan Huntley, Lynda Draper, Steven Bird ,Glenn Barkley, Ben Quilty, Philippa Taylor, Vippo Srivilasa, Karlien Van Rooyen, Steven Bird, Madeleine Preston, Phil James.
Activity:
Make one
object/ collection of works inspired one of the Artists mentioned in the Power
point presentation and re-create an object inspired by their work (or an artist
of your choosing). Exploring scale, form, surface treatment and concepts.
(Afternoon: Juz will speak
individually with each student to kick start them with their individual
projects - directions, reference points and what they are interested in
pursuing)
(LOAD works made so far to be
bisque fired)
_________________________________________________________________________________
Sept. 27, THURSDAY: Excursion
INTO THE JUNGLE
A visit to a water temple and
studio visits to artisans carving bone and skulls in Tampaksiring.
Gather inspiration, drawing,
photos, and collecting resources, take imprints/ rubbings of textures. The
dense jungle of Bali oozes rich inspiration - themes of budding life and
regeneration. Excursion to Water temple and Tampaksiring to visit the studios
of artisans working with bone carving.
_________________________________________________________________________________
Sept. 28, FRIDAY: ART FORMS IN NATURE
Inspired and refreshed…
Start the day by exploring
subjects, ideas, textures, forms, materials guided by the excursion Into the Jungle
and the studio visits from the previous day.
Studio time: Begin individual projects.
Students can start drawing down ideas/ mind mapping/ collaging in visual
diaries- creating a visual plan of ideas for their projects.
Thinking about Scale: (if they
decide to work small scale - creating a collection of objects to form an
installation or a series of large freestanding sculptures etc..) Students start
making intensely - One on one tutorial with Juz to develop ideas and create a
plan for their project.
Afternoon Activity: Make one
small object or a collection of small pieces inspired by the drawings of Ernst
Haeckel (Art Forms in Nature).
Students experiment and explore the techniques learnt from previous days, developing an understanding the material. Creating experimental pieces and studies.
Students experiment and explore the techniques learnt from previous days, developing an understanding the material. Creating experimental pieces and studies.
_________________________________________________________________________________
Sept. 29, SATURDAY: DEVELOPING PERSONAL
NARRATIVE
Demonstration: Press-moulding (available
moulds) and altering.
How to push and pull the material. (Students with experience have access to wheel to hand form structures and alter them)
Looking at botanical references/ flora and fauna/ seed pods/ succulents and still life objects. Introduction to stoneware clay.
How to push and pull the material. (Students with experience have access to wheel to hand form structures and alter them)
Looking at botanical references/ flora and fauna/ seed pods/ succulents and still life objects. Introduction to stoneware clay.
_________________________________________________________________________________
Sept. 30, SUNDAY: DAY OFF: Rest and
Relaxation
_________________________________________________________________________________
Oct.1, MONDAY: MAKE MAKE MAKE
Studio time: Start individual projects.
Students can start drawing down ideas/ mind mapping/ collaging in visual
diaries- creating a visual plan of ideas for their projects.
Thinking about Scale : (if they
decide to work small scale - creating a collection of objects to form an
installation or a series of large freestanding sculptures etc..) Students start
making intensely - One on one tutorial with Juz to develop ideas and create a
plan for their project.
HOMEWORK: (recommended but of course
optional)
Research a Contemporary Ceramic Artist (either from the list previously mentioned or one of your own choosing) Write a 300 word statement about their practice, the conceptual basis behind their work, their motivations and techniques used. How does this artist push the boundaries of their chosen material? Do they only work with ceramics? Or is it the combination of other materials that sets them apart from their contemporaries?
Research a Contemporary Ceramic Artist (either from the list previously mentioned or one of your own choosing) Write a 300 word statement about their practice, the conceptual basis behind their work, their motivations and techniques used. How does this artist push the boundaries of their chosen material? Do they only work with ceramics? Or is it the combination of other materials that sets them apart from their contemporaries?
Demonstration: Painting/ drawing on the
surface/ using a heat gun/ bubble technique/ sgraffito.
Students should have a strong idea of what they will be pursuing. Students should be well underway to developing their projects. One-on-one tutorial with Juz.
Students should have a strong idea of what they will be pursuing. Students should be well underway to developing their projects. One-on-one tutorial with Juz.
_________________________________________________________________________________
Oct. 2, TUESDAY: STUDIO IMMERSION
Full Studio Day – one-on-one
tutorials with Juz
Painting - Underglaze colour/stains/oxides
Students delve into their projects.
Refining artist statement/ drawings/ diagrams/ collage / reference images to be exhibited alongside the works in the open studio exhibition on the last day.
Painting - Underglaze colour/stains/oxides
Students delve into their projects.
Refining artist statement/ drawings/ diagrams/ collage / reference images to be exhibited alongside the works in the open studio exhibition on the last day.
HOMEWORK: Write a minimum 300-word
statement about your project, the conceptual idea you will explore, the
techniques and forms, the reference points for inspiration and how you intend
to install/ display the objects? Start gathering objects/ material/ photos/
drawings/ collage/ in your visual diaries
BISQUE Kiln
loaded for firing at midnight.
_________________________________________________________________________________
Oct. 3, WEDNESDAY: GAYA GLAZE ARCHIVE ROOM and
FACTORY VISIT:
Visit GAYA
Glaze archive room for a peek into inspiration.
Talk about possible glaze options for the works for these two brief weeks.
(glazes will be prepared--a small selection of possibilities will be available)
Talk about possible glaze options for the works for these two brief weeks.
(glazes will be prepared--a small selection of possibilities will be available)
Pour, Dunk,
or Spray glaze
UNLOAD bisque
kiln. Spray, or dip
works.
PACK KILN for High Fired Gas or
prep for next day’s Saggar or Raku firings.
_________________________________________________________________________________
Oct. 4, THURSDAY: FIRING /
EXQUISITE CORPSE
(Sagger or Raku firing for those
interested)
Group Activity: Exquisite corpse
drawing exercise. Coloured pens/texters.
Make them wild and colourful!!
Referencing Jake and Dinos Chapmans print series.
Activity: Re-create your
Exquisite Corpse in porcelain - either freestanding or as a relief sculpture on
a slab. Referencing Jake and Dinos Chapmans print series from 2000 and artists-
Vipoo Srivalasa, Jenny Orchard, Phil James, Steven Bird (or an artist of your
choosing)
FIRE GAS KILN (begin
midnight, finish by late afternoon Thursday—can unload by Friday late morning)
_________________________________________________________________________________
Oct. 5, FRIDAY: BRINGING IT ALL TOGETHER
Prepare space and workbenches
for exhibition - collection of materials and recourses that can be combined
with the ceramic sculptures or objects can be displayed on for documentation,
finish drawings, visual diaries and artist statements.
Unload gas
kiln after lunch.
Start configuring installations/
collections of works with other materials.
Finish
works- combining other materials
_________________________________________________________________________________
Oct. 6, SATURDAY: INSTALLATION AND
DOCUMENTATION
Display all finished works for
studio exhibition all around the studio—each artist explaining her/his
intention.
Photographing; disassembly;
packing.
Workshop concludes with lunch.
_________________________________________________________________________________
*Schedule is subject to revision prior to the commencement of
the actual workshop
**all lunches during
studio days will be catered family-style in the studio mezzanine midday
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