4M Carved Pottery Assignment – “Emergence”/”Awakening”
Student Work: Emergence, 2009
Sculpture paperclay, flashing slip. Iron oxide and Manganese
dioxide.No glaze. High fire. Cone 10 reduction. 21”L x 11”H x 12”D
“Awakening”
Learning Goals: student will
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Integrate planning - problem solving with creation
Combine handbuilding techniques to create form with low and high relief carving
of surfaces and incising to explore negative space
Demonstrated craftsmanship in forming and decorating vessel to illustrate the
themes of “emergence” and “awakening”
Compare and contrast ceramics by various artists .
Summary: Students will create two pieces of carved pottery considering the themes of
“awakening” and “emergence”. They will use a variety of handbuilding and carving techniques
to complete their pieces and will explore historical and contemporary artists’ work within the
medium.
Moonrise
Research:
1. Refresh your knowledge of handbuilding techniques.
2. Research carved ceramics.
3. Create a page summary of the 5 carved pottery illustrations that inspire you. They need to
be properly captioned.(1 period)
4. Choose and research into at least two modern ceramic artists’ work in this style. Write a
minimum ½ page summary comparing at least 2 different artists’ ceramic stylings in
incised or carved ceramic (done in point form – at least 25 points voicing complete thoughts)
along with at least 6 illustrations, captioned and referenced. Include a Works Cited page
with your writeup, minimum 5 good sources…..use EasyBib or equivalent to create citation
page in MLA format. (2 periods)
Planning and Drawing(2 periods):
5. Brainstorm on elements that you might wish to use - and the purpose for your own vessel.
The goal is to create two carved and incised vessels illustrating the themes of ‘emergence’
and ‘awakening’ which incorporate natural forms that are inspired by those you have seen –
by using pinch and coil techniques and abstracting and simplifying.
6. Draw a series of 8” X 11” realistic drawings of at least 3 inspiring natural forms, using photo
references, on regular paper - include value shading (2 periods)
7. Critique drawings and develop 2 or more plans for your 2 pieces. Select the best ones
to construct. Write an Intent Statement
Clay construction and response (5 periods)
8. Using pinch and coil technique - make the main bowl portion of vessel. Carve and Incise design
elements at the leather-hard stage.
8. Allow to dry to bone dry stage (3 days) – work on portfolio - bisque fire
9. Glaze (or use oxides or acrylic paint) - select glazes that are aesthetically appealing to form.
POTTERY REFLECTION
*Answer all questions in full descriptive sentences
1. What are the qualities you like about your piece? Why?
2. What would you do differently if you could create it over again? What would you
change, what would you keep?
3. What were the greatest obstacles you faced with this project? How did you resolve
them? If you did not resolve them, explain why. BE SPECIFIC AND DETAILED!
4. What important “clay knowledge” did you gain from this project? What more did
your learn about the personality of the clay?
5. Compare and contrast your work with that researched.
Example of an Artist Intent Statement
Syndrome by Juan Carlos Ornelas
Stoneware
42 x 21 x 18
Juan Carlos Ornelas
The use of hair in my work began with my mother's story about her experience when losing
her hair due to chemotherapy. She expressed her devastation as clumps of hair began to fall
off. Her story triggered memories of a reoccurring dream that I had when I was a teenager; I
dreamt that I had hair coming out of my mouth. In my dream these strands of hair were not a
disfigurement, rather they were viewed as normal as the hair on my head. To see hair in
dreams signifies sexual virility, seduction, sensuality, vanity, and health. I investigate how
the use of hair, in simulation, both attracts and repels the viewer. In my ceramic sculpture,
hair is simulated by applying tentacle-like strands of clay that drape above and around an
interior clay structure. These strands, although motionless, grow from within the form and
appear to be in the process of motion. The combination of line, repetition and negative space
become architectural characteristics that inform these interior structures and affect the
visible movement and growth pattern of the simulated hair. My motivation to create
sculptural form that moves visually is inspired by a combination of up tempo pop music and
my body's reaction to sound through interpretive dance. I interpret how I see the sounds that
I hear by providing visual shapes into the unseen. Music lies in between something that is
both unseen and has visual shape. By taking this external energy, these shapes become
tactile and physical through my experience. Having no formal training in either music or
dance, I am allowed the freedom to express myself intuitively and in close proximity to this
experience. I want to encourage the viewer to experience a visual journey and heightened
awareness.