MIXED MEDIA SCULPTURE
COPPER AND CERAMIC
A Project
Presented to the faculty of the Department of Art
California State University, Sacramento
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
Art Studio
by
Christopher Max Thompson
SPRING
2013
© 2013
Christopher Max Thompson
ALL RIGHTS RESERVED
ii
MIXED MEDIA SCULPTURE
COPPER AND CERAMIC
A Project
by
Christopher Max Thompson
Approved by:
__________________________________, Department Chair
Daniel Frye, Ph.D.
__________________________________, Second Reader
Andrew Connelly, M.F.A.
____________________________
Date
iii
Student: Christopher Max Thompson
I certify that this student has met the requirements for format contained in the University format
manual, and that this project is suitable for shelving in the Library and credit is to be awarded for
the project.
__________________________, Department Chair
Daniel Frye, Ph.D.
Department of Art
iv
___________________
Date
Abstract
of
MIXED MEDIA SCULPTURE
COPPER AND CERAMIC
by
Christopher Max Thompson
Statement of Problem – Bring both ceramics and copper together in a seamless and
integrated way, which allows the two materials to co-exist in harmony, allowing each
material to compliment the other.
Sources of Data—The sources for my data are from established clay and metalworking
techniques, professors Monty Clark, Daniel Frye, Scott Parady, and Rodney Mott as well
as from my own experiments and observations.
Conclusions Reached—The two materials (copper and ceramics) can be brought together
or combined by the use of science, the application of aesthetic principles, and by
following sound scientific principles.
_______________________, Department Chair
Daniel Frye, Ph.D.
_______________________
Date
v
DEDICATION
I want to dedicate this work to my best friend and the love of my life, Jeannie Miller.
Without all her love and support, this work would not have been possible.
vi
ACKNOWLEDGEMENTS
I want to thank Dr. Daniel Frye, Sacramento State University, Scott Parady, Sacramento
State University, Monty Clark, American River College and Rodney Mott, American
River College, Emeritus, for all their assistance, encouragement and help.
vii
TABLE OF CONTENTS
Page
Dedication ................................................................................................................... vi
Acknowledgements .................................................................................................... vii
List of Figures ............................................................................................................. ix
Chapter
1. DESIRE................................................................................................................... 1
2. EARLY ATTEMPTS AND RESEARCH .............................................................. 3
3. A SOLUTION ..........................................................................................................6
4. EARLY SUCCESS - ENCRUSTATION ................................................................9
5. OTHER MATERIALS ..........................................................................................11
6. BRINGING IT ALL TOGETHER ........................................................................13
7. WHAT WILL THE FUTURE BRING? ................................................................16
Work Cited ..................................................................................................................17
viii
LIST OF FIGURES
Figures
Page
1.
Outback……………………………… ............ .………………………………. 3
2.
Feeling Froggy…………………….… ................. ……………………………. 3
3.
Perfect ........................................... ………….………………………………….9
4.
Freckles………………………….……… ................ …………………………. 9
5.
Crabs………………………….……… ................... ………………………….11
6.
Bee…………………………….……… .................. ………………………….11
7.
Praying Mantis…………………………….……… ………………………….11
8.
Dragonfly………………………….……… ............. …………………………12
9.
Magnolia Branch………………….……… ............. ………………………….12
10.
Ribbed for Her Pleasure……….……… .................. ………………………….14
11.
Magnolia…………………………….……… ........ …………………………. 15
ix
1
Chapter One – Desire
Clay and metal are both of this earth. They both have a hold on my creativity.
Why is this? Each material has its own allure for me. Clay is a humble trod upon
material. It comes from the accumulations of long standing weathering processes acting
upon granite and feldspars. The material becomes very plastic when mixed with
decomposing organic materials. Some of the organic material is separated from the clay
when the clay is mined. Part of the refining process includes rinsing the clay and
separating more of the organics from the clay particles. Life seems washed away in the
refining process. Yet, during the creative process of art making, I have the ability to
breathe life back into the clay by working with it.
Why am I compelled to make objects from metal? Metal has always represented
strength. I grew up on a farm where metal made life easier. Whether it was barbed wire
or the John Deere tractor, metal mitigated the hardships and allowed a higher standard of
living. It’s cool stiffness was unyielding and in the form of a plow, metal moved earth. A
hoe made weeding an acre garden easier. Metal made my work quicker to do. A simple
fishhook combined with a few other things could turn an afternoon into an adventure.
Being able to fashion and create objects out of metal allows me to feel in control of my
environment. Using a small metal box I made or wearing one of my cast silver rings is
truly a joy.
Bringing two mediums together into one creation initially seemed intriguing.
Bringing the two mediums together and having them co-exist harmoniously seemed like
2
an even greater task to accomplish. I enjoy challenges; they keep my mind engaged. So
when I toyed with the idea of combining metalwork with clay I became excited.
3
Chapter Two – Early Attempts and Research
Two of my early attempts; Figure 1. Outback and Figure 2. Feeling Froggy were
somewhat successful but fell short of fully being able to integrate my clay and metal
work together. The koala bear in Outback is merely a decorative stopper and could easily
be lost. Attaching the frogs to the vase in Feeling Froggy required putting holes in the
vase form. The holes had to happen when the piece was in green ware form. The holes
later allowed threaded stock cast onto the frog to be bolted onto the form thus securing
silver to the clay.
Figure 1.
Outback
Stoneware and Silver
Chris Thompson
4”x4”x11”
2007
Figure 2.
Feeling Froggy
Stoneware and Silver
Chris Thompson
6”x6”x12”
2007
The clay work was inspired by Rodney Mott. Monty Clark inspired the silver
work. The challenge was finding a process that would allow the joining of two mediums
without glue or epoxy. I enjoyed the task, but disliked the amount of premeditation
4
required. Bringing clay and metal together by drilling holes and bolting the mediums
together in this manner was limited because the metalwork appeared as an afterthought or
an add-on to the ceramic form. The silver pieces seemed secondary to the clay. Visually
the metal and the ceramics were not well integrated. In speaking with my metals
professors, Monty Clark and Dr. Daniel Frye about the limitations encountered to bring
the two mediums together, I was encouraged to research other methods of incorporating
metalwork with ceramics.
After extensive search of books, in the library and on the internet, one name kept
coming up, Charles Clewell, (1876-1965). Books chronicled very little about him, yet
pictures of his work existed on many websites on the internet. He is little known and
somewhat obscure in published books and articles. However, he developed a technique of
cladding ceramic vessels with bronze and then finishing the bronze work with various
patinas. Clewell became known for both processes. Sources chronicled his career and
spoke of how he was inspired by an ancient Roman vessel owned by J.P. Morgan. The
worn and weathered look of the vessel inspired Clewell. He was given awards for work
he showed at the 1937 Paris Exposition. “Unfortunately, not much is known about his
process of ceramic art. As Clewell was oft quoted, ‘The art will likely die with me’”
(Druesedow) .
After viewing a large body of his work, I became enamored by his aesthetic and
success with combining the clay and metal. While looking at his pieces, I searched for
telltale seams on the metalwork. Some pieces hinted at rivets and seam work but the
rivets and seam work appeared to be only adornment. I can neither confirm nor deny this
5
observation by only studying photographs. The photographs depicted a seamless cladding
of his ceramics with metal, yet contained no instructions to explain his methods.
Particulars were not given, but a few chroniclers hinted that he may have experimented
with some type of electrolytic method that joined the two mediums together. I wanted to
know more. However, I kept reading this line, “He took his secrets of how to do this to
the grave.” in his biographies. He instructed his heirs to burn his formulas, techniques
and journals after his death. Having invested several months researching him and his
work and unsuccessfully learning his technique of combining the two mediums, I became
frustrated and angry.
6
Chapter Three – A Solution
Given the fact Clewell’s work exists, informed me that cladding ceramics with
metal is possible, but it did not tell me how to do it. My anger and frustration propelled
me to look for answers. His work inspired me. The solution I wanted was how to clad my
ceramic work with metal. Frye and Clark both suggested I investigate metal plating or
metal forming. Metal plating is an electrolytic process, which fit the suppositions of the
nameless chroniclers of Clewell’s life and techniques. Frye suggested I try conductive
paint for coating non-conductive surfaces. He pointed me towards established outlets for
buying materials, which aid in the plating of non-conductive surfaces.
Clark showed me “The Jewelry Repair Manual” written by R. Allen Hardy in
1956. The book gave explicit instructions of how to bronze baby shoes. It spoke of
coating the shoes with a layer of shellac and then a layer of thinned shellac mixed with
copper and/or bronze powder to make the shoes conductive. The text also gave a recipe
for the plating solution. It is as follows:
5 pounds of Copper Sulfate
3 gallons of distilled water
12 fluid ounces sulfuric acid and
1 ½ teaspoons of electrolyte
While following up on Frye’s lead, I purchased some conductive paint (bridge
material) from a retail jewelry supply house. Both lines of inquiry from Frye and Clark
proved fruitful. I purchased the necessary ingredients and supplies to make a batch of the
7
plating solution coupled it with the conductive paint from the supply outlet and a plating
machine. I followed all directions to the letter. My first attempt to plate metal on
ceramics was unsuccessful. I was dismayed. I was looking for a skin-tight bond between
the metal and the ceramic surface. The silver-based conductive paint did not adhere
uniformly to the surface of the ceramic vessel. Conductivity throughout the coating was
sporadic. Places where copper actually plated onto the ceramic surface easily lost
adhesion and de-laminated. Bonding was not occurring between the two surfaces.
I began to look for answers. I checked the instructions for using the conductive
paint. I double-checked the formula for the plating solution was correct. I re-researched
how to use the plating equipment. After rechecking all phases of the process, I
determined a longer cure time or a warmer environment for curing was needed for the
conductive coating as I had conducted my first test in the winter, in an unheated
workspace. This seemed to be one of the only factors left that I could change. Surface
treatment, cleaning and roughing seemed to be the other factors I had control over. On
the first piece, I allowed the conductive coating to cure for the required 24 hours but the
temperature it cured at was around 50 degrees Fahrenheit.
Ambient temperature for curing should be seventy degrees as it is standard for
most solution’s curing temperature, whether it be glue, epoxy, or paint. To ensure the
cure time and temperature were within specifications, I cured the second test piece for 30
hours at 78 degrees. With the increased curing temperature and longer curing time, I
tried a second piece and achieved positive results. Firmer bonding occurred between the
copper and ceramic. If I pried the metal, I could separate it from the ceramics, but
8
separation required effort on my part. My third test included roughing the ceramic
surface and cleaning it well prior to applying the bridge material. The improved surface
preparation allowed tighter adhesion between the two mediums and firmer bonding.
Bonding occurs when a copper molecule shares an electron with a silica molecule.
Adhesion occurs when copper ions encapsulate a rough angular surface. The roughing
process bared silica for better bonding and created an angular surface for better adhesion.
A plating time of 24 hours gave sufficiently thick plating that allowed for some
very basic metal working techniques such as filing, sanding buffing, polishing and patina
work.
After several more trials, I determined that 1/10 of an amp per square inch of
plating area is the best setting for optimal plating results. This setting allowed a dense
coating of copper to form. Bath size or the amount of solution and rating of the plating
unit in amperage dictate the size of the work that can be accomplished.
My mind filled with other possibilities. I can use the plating technique for coating
organic elements and items. A fired red iron oxide stain on my ceramics can act as a
bridge material for the metal forming if it is applied sufficiently thick enough to become
conductive. The electro-forming process can join two pieces of ceramic together;
therefore, a ceramic work is no longer a terminal form. An artist can continue to add
elements and layers of content to ceramic vessels or sculptures. Metals other than copper
can be used in the plating process.
9
Chapter Four – Early Success - Encrustation
My first attempt to bring metal and ceramic together in Outback and Feeling
Froggy resulted in treating the metal as a separate entity. With the plating technique, I
tried to lessen the separation between the two mediums. Figure 3, Perfect and Figure 4,
Freckles are representative of my secondary research to integrate the two mediums.
These attempts resulted in defining areas for metal inclusion and areas for glazing. A
certain separation still seemed to exist between the two materials. The metal became
another surface treatment. I found myself treating the inclusion of metalwork with my
ceramics as I would apply a glaze.
Figure 3.
Perfect
Stoneware and Copper
Chris Thompson
5½”x5½”x13”
2012
Figure 4.
Freckles
Stoneware and Copper
Chris Thompson
5”x5”x11”
2012
10
For instance, Perfect and Freckles have metalwork existing with strong registers
or lines of demarcation. The delineation of the metal and clay work and tends to separate
the two mediums. Copper becomes yet another way to adorn the surface. Metal
encrustation brings interest and an organic feeling to the ceramic work yet I found myself
yearning to make the metalwork more integrated with the ceramic pieces.
11
Chapter Five – Other Materials
I began to coat other objects with metal. Nothing was sacred. I coated a couple of
crab shells (Figure 5). Then I tested the technique out on a bee (Figure 6). The crabs and
the bee were very successful. This success encouraged more experimentation.
Figure 5.
Crabs
Copper
Figure 6.
Bee
Copper
I found a couple of praying mantises to subject to the process. One of the
mantises, (Figure 7) partially failed. The metal coating applied was too thick. Nodules of
copper obscured parts of the insect forms. Detail was lost. The over-growth of the metal
represented very organic forms that competed with the form of the insect. The overgrowth by itself held enough interest to be useful with later pieces.
`
Figure 7.
Praying Mantis
Copper
12
I experimented with a dragonfly, (Figure 8) and a magnolia branch, (Figure 9).
While coating the magnolia branch, I began to test changes with the recipe for the plating
solution. I sought to make the process more efficient. The results I was looking for were
quicker plating times and thicker metal growth. I increased the amount of acid by 15
percent in an effort to super-saturate the plating solution with copper ions, hoping to
decrease plating/forming times and increase thicknesses of plating and forming. I
achieved mixed results, the thickness was greater and the time for metal forming was
less, yet metal porosity was also greater. Not enough time was given to allow a solid
metal lattice to form. A second branch was plated and the porosity problem was
overcome by decreasing the amperage to 1/12 of an amp per square inch. This decreased
amperage increased metal plating/forming time proportionally.
Figure 8.
Dragonfly
Copper
Figure 9.
Magnolia Branch
Copper
13
Chapter Six – Bringing it all Together
After taking several studio courses, my definition of success is defined as being
able to recover gracefully from unintended results or mistakes. Scott Parady
demonstrated an ancient Japanese tradition called kintsugi, which loosely translates to
repair with gold or gold joinery. Parady fixed a broken tea bowl. The oral history states
the practice of repairing damaged pottery with gold originated in the 15th century when a
Japanese shogun sent some damaged ceramics to China for repairs. The pieces were sent
back with crude metal staples making the repairs. The shogun purportedly enlisted his
workers to come up with a more elegant solution. Kintsugi resulted from their efforts
(Lipske).
I loaned one of my more precious wood-fired bottle forms for a ceramics guild
event. After the event ended, my piece did not return. After patiently waiting for its
arrival, I decided to press the matter of my work’s disappearance. Questioning was
answered with the reply, “Your bottle was smashed and thrown away, I believe it was an
accident.”
Recovering the pieces, I now had broken shards of a prized bottle, hurt feelings,
and an extreme sense of loss. Remembering Scott Parady’s demonstration of kintsugi, I
decided to give my shattered work new life. This seemed like a perfect opportunity to
turn a negative life experience into something bright and positive.
14
Figure 10.
Ribbed for Her Pleasure
Stoneware and Copper
Chris Thompson
6”x6”x10”
2013
Ribbed for Her Pleasure, (Figure 10) is my modern interpretation of kintsugi
using the metal joining technique of forming copper onto ceramics. Metal becomes the
material that allows re-joining of the broken bottle form. The large void on the left side of
the bottle was solved by creating ‘metal ribs’ and attaching them to the ceramics using
the electroforming process. The ‘ribs’ suggest an inner structure to the ceramic form.
With this iteration of copper and ceramics, I found the process maturing and allowing
new content to enter my work. The metal and ceramic now have the integration I was
searching for in my earlier pieces.
Another accident happened with one of my porcelain bowls. A friend was
helping me move a number of bisque fired bowls when he accidently broke the one on
15
the bottom. Taking the broken bowl, I glazed the remaining form and fired it. The glaze
I choose was a single color so as not to compete with the metalwork. I revisited the
second magnolia branch experiment and fashioned a semi-circular branch-like element to
echo the missing rim of the bowl. I then fashioned a branch with a similar curve to the
remaining bowl. Using the metal forming/joining process then allowed me to compose a
sculptural form with interest and intrigue. The result is Magnolia, (Figure 11).
Figure 11.
Magnolia
Porcelain and Copper
Chris Thompson
12”x12”x4”
2013
16
Chapter 7 – What Will the Future Bring?
I began searching for a way to bring two mediums together that I love working
with, metal and ceramics. I achieved a simple cladding of metal on ceramics and other
materials. Joining ceramic elements together using copper as the bridge material became
possible. I found the technique could also join a metal element with a ceramic element. I
am intrigued by the future possibilities.
Chemically speaking, copper has an affinity for silica. Copper will readily share
an electron and silica will readily accept and electron. Glass, copper and ceramics seems
like a natural combination and a nice challenge. Technically, combining the three
mediums is possible. The challenge will be integrating all three so visually the materials
complement one another instead of competing with each other. Possibly, I might strive to
bring silica-based stonework together with copper and ceramics. Only my creativity,
imagination and curiosity will limit the possibilities.
Making the process more efficient is always at the forefront of my consciousness.
Future research will include following up on a bit of research, a friend Mark Danitschek,
Chief Operations Officer for Prodigy Surface Tech, responsible for plating items for
aerospace and medicine, suggested. He indicated that I should try metal brighteners. He
indicated with brighteners, I could improve my plating and forming results. With
brighteners he indicated I could achieve thicker plating and forming and get a tighter
metal lattice. One of the brighteners he suggested was sodium saccharine. This is just one
of the many things requiring further research. Research, improving and expanding the
processes and techniques are a few of the many things that the future holds.
17
Works Cited
Danitschek, Mark. Personal interview. Apr. 2013.
Druesedow, Jean L. "Uncommon Clay: Ohio Art Pottery from the Paige Palmer
Collection." Exhibit:. Kent State University Museum, n.d. Web. 08 May 2013.
<http://www.kent.edu/museum/exhibits/exhibitdetail.cfm?customel_datapageid_2
203427=2274158>.
Hardy, R. Allen. The Jewelry Repair Manual. 2nd ed. Princeton, NJ: Van Nostrand,
1967. Print.
Lipske, Michael. "Broken Tea Bowls Display Precious Golden." Inside Smithsonian
Research. The Smithsonian Institute, Winter 2009. Web. 9 May 2013. <http://sipddr.si.edu/dspace/bitstream/10088/7725/1/23-09-Winter.pdf>.