Ceramic vessels
by James Edmound O'Connell III
A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF FINE
ARTS
Montana State University
© Copyright by James Edmound O'Connell III (1982)
Abstract:
no abstract found in this volume STATEMENT OF PERMISSION TO COPY
In p r e s e n t in g t h i s t h e s i s in p a r t i a l f u l f i l l m e n t o f the
requirements f o r ah advanced degree a t Montana S t a t e U n i v e r s i t y ,
I a g r e e . t h a t the l i b r a r y s h a l l make i t f r e e l y a v a i l a b l e fo r
inspection.
I f u r t h e r agree t h a t perm iss ion f o r e x t e n s i v e
copying o f t h i s t h e s i s f o r s c h o l a r l y purposes may be granted
I
by my major p r o f e s s o r , o r , in h is a b s en ce , by the D i r e c t o r o f
'
Libraries.
I t i s understood t h a t any copying or p u b l i c a t i o n
o f t h i s t h e s i s f o r f i n a n c i a l gain s h a l l not be allowed without
my w r i t t e n pe rm is s io n .
Signature
Date
^CN r ryMvwjJl
, M t?
CERAMIC VESSELS
by
James Edmound O'Connell III
A t h e s i s submitted in p a r t i a l f u l f i l l m e n t
o f the requirements f o r the degree
of
MASTER OF FINE ARTS
Approved:
erson
Iraduate Committee
Graduate Dean
MONTANA STATE UNIVERSITY
Bozeman, Montana
August, 1982
ii I
M.F.A. T h es is Statement
Through every pot thrown, g l a z e d , and f i r e d one i s a b le t o observe
and understand t h e pr o ce ss towards reaching a complete i d e a .
Thus the
p ro ce s s becomes a documentation o f my growth and m at u ri ty .
■My work has gone through many changes as I have grown and learned
t o understand m y s e l f , my l i m i t a t i o n s , and ce ra m ics .
My goal was once
t o . h a v e the p e r f e c t l y thrown pot e x p r e s s in g symmetry and smoothness which d i d n ' t s a t i s f y - thus th e po ts looked l i f e l e s s and f o r c e d .
Under­
st an d in g t h i s has le d my work t o in co r p o r a te my own p e r s o n a l i t y and
expression.
My work has become l e s s symmetrical, more g e s t u r a l and
p r im a l, which e x p r e s s e s
a s e l f p o r t r a i t o f my inner f e e l i n g and an
understanding o f my a b i l i t i e s and l i m i t a t i o n s with t h e m a t e r i a l .
The
forms a re i n f lu e n c e d by the st ra ig h t f o rw a rd q u a l i t y o f many Japanese
■
forms such as Tomba, B i z e n , and S h i g a r a k i . The forms become my i n t e r ­
p r e t a t i o n o f the s i m p l i c i t y and beauty I s e e in Japanese ce ra m ics .
The p i e c e s become t h r e e dimensional drawing by throwing the c l a y to
th e l i m i t o f i t s s t r u c t u r e and s t re n g t h thus c r e a t i n g a t e n s i o n o f the
same e s s e n c e as s c u l p t u r e .
The forms are thrown and f i r e d , then l i v e d
w i t h , in order t o understand the elements which make the pot reach a
complete i d e a .
Once t h i s communication i s absorbed, th e p i e c e i s thrown
again applying t h a t knowledge to
a c h ie v e the b es t p o s s i b l e s o l u t i o n to
t h a t form.
S u bt le g l a z e s , simply a p p l i e d , are used to st ren g th en the p ercep­
t i o n o f form and beauty.
I use s l i p , g e s t u r a l s c r a f f i t o , and g l a z e s
1
iv
which complement the c l a y .
e l e g a n c e , y e t remains
wardness.
m yself,
The work becomes a heightened ex p r e s s io n o f
an i n t e n s i v e and s e r i o u s study o f s t r a i g h t f o r ­
The s i m p l e , and natural forms combine as an e x p r e s s io n o f
and understanding o f volume, s p a c e , c o l o r and form.
V
SLIDES
T itle
Size
#1
Small j a r
5 “ x 5"
#2
Large Jar
11x 8
#3
Vase
8 x 12
#4
Cylinder
8x7%
#5
Tea pot
11 x 6%
#6
Tea pot
10% x 6
#7
Jug
11 x 6
#8
Jug
12% x 7
#9
Platter
2 x 18
# 10
Basket
15 x 7
#11
Bottle
9% x 8
#12
Picture
8% x 5
# 13
Bottle
12 x 5%
#14
Bowl
4% x 8
#15
Spouted bowl
4 x 10%
#16
Jar
8 x 7
#17
Pie p l a t e
2 x 10%
# 18
Dish
3 x 12%
#19
Cast Dish
3% x 8%
#20
Platter
2 x 18
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