EUGENE HŐN : CERAMIC ARTIST

Divine Style Intervention - In Style & In Vogue.

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The FALL, a film directed by Tarsem Singh - released 2008.
Photographs by Stephen Berkman.

I have mentioned on a previous blog entry that I love Vanity Fair magazine. The latest issue with Lady Gaga on the cover has a very relevant andthought-provoking article on Style. In the article titled, You say you want a devolution? written by Kurt Andersen, he statesthat you must ‘hold it right there. Fromthe fedora to the Afro, styles have changed with the times. Unless you’reliving in the 21^st century’.

He dares to say that for most ofthe last century, 'America’s cultural landscape – its fashion, art, music,design, entertainment - changed dramatically every 20 years. But these days, evenas technological and scientific leaps have continued to revolutionize life,popular style has been stuck on repeat, consuming the past instead of creatingthe new’ (Kurt Anderson, Vanity Fair,Issue 617. 2012 page 74).

Reading the article and viewing the independently produced film titled, The Fall - a dvd that jumped into myhands with the words, watch me tonight(a divine style intervention), sparked the idea for this particular post. TheDVD was rented from my favourite video shop in the Killarney Shopping Mall - inwalking distance from my flat. Anuntimely storm cut off my DSTV satellite connection to watching pleasure. However it was a blessing in disguise – nothing beats viewing a fabulous,beautifully styled film (images captured here).

The film The Fall – is stylish inevery way, even the plot is endearing. If you are fascinated by the images of the film showcased here, and you wantto know more about the film, its narrative etc? Follow the link provided to asite that not only explains the plot of the film, but also showcases a pre-releasepromotional 80-page book that measured a whopping 35.6 X 43 cm.

Designed byStefan G Bucher, it was produced from 7000 on-set photographs, mostly taken bythe photographer Stephen Berkman, some of which is showcased here. Beautifully styled to wet the appetite of thepotential distributers. The choice of locations are equally phenomenal - followthe provided link to a blog titled The Fall: Film Locations, showcasing a large number of the above mentioned photographer's images taken at the various sights. It mightjust evoke your next holiday destination.

The bridge scenes (Piketberg) and thechosen location for the hospital scenes (Valkenberg Hospital in Cape Town) areall very local – proudly South African. The director Tarsem Singh has mainly createdadvertisements and music videos - areflection of the design style of the film.

Gaga and Madonna are a generation apart, but largely indistinguishable in look and sound (Anderson, Vanity Fair, Issue 617, 2012 page 78).

I can’t agree more with Kurt Anderson’s findings in the article mentionedin the opening paragraph. In numerous discussions with colleagues, I havealso drawn parallels between the performances and styles of Madonna and LadyGaga - even though they are a generation apart. Could the lack of radical stylechanges be attributed to our present obsession with all things green - a directresponse to climate change and many other contributing factors? Consumers inthe present economic decline are investing in products that are contributing toa value adding experience (forinstance, a clean, green and healthy lifestyle). Bauman states, ‘that the postmodern era is seen in theliterature as a time of individualism and changing values, manifested infreedom of choice, changes of lifestyles (consumption and leisure time) or newsocial movements, such as environmentally conscious consumer groups’ ( Zygmunt Bauman1996). The buzzwords are therefore green and authentic – in direct response to constantly changing fashiontrends and styles of the past, that were synonymous with mass production andconsumption – advocating a Disposable culture.

Are we therefore expected to wear t-shirts and jeans and loose all senseof style? Quite the contrary, beingstylish is often attributed to someone having good taste. Perceived though thefive senses, including smell, touch, hearing, sight and taste. He or she, who hasa passion for beautiful things and admires quality in everything life has tooffer, is often prepared to wait for the bespoke product and or the desiredexperience (go the extra mile to get it).

Michel Guerard,
French of course

It must also be said that wining and dining at your choice restaurantand or enjoying your own fovourite homemade meal (recipe), can be equallysatisfying - contributing to that feel good experience. Here there has been a radical shift. Food andproducts are presently photographed and styled very differently than in thepast. The image on the left and below on the left are from 1988, a book titled Master Chefs of Europe. Photographed by Michael Boys.

Close-up shots (above and below) seduce the consumer, enticing ones senses - you can almostsmell and taste the latest styled and closely photographed food dishes.Focusing food up close reveals and almost releases the flavours and textures of theingredients (from memory), especially the herbs and spices. To wet yourappetite, I have included one of my quick meal recipe images, styled and photographed in the latest trends (above and below). The complete recipe will feature soon on my blog (step by step).

Silver spoon and found object (pipe handle spoon).
Marchand van Tonder. Contemporary Jewellery Designer.
South Africa.

In conclusion, contemporary designer makers are therefore more concernedwith timeless and classical design, products that can stand the test of time,and is enjoyed for generations to come. 21^st century products haveto be truly useful, useable and desirable – a collectable item to be handeddown from one generation to the next – recognized as products of inheritance. Consumersare seen to be placing far greater emphasis on products and experiences, whichHaanpaa refers to as status symbols of their lifestyles and values (as cited inthe article, Consumers’ green commitment;indication of a postmodern lifestyle? By Leena Haanpaa. 2007). View thisincredible site INSTYLE – you can trace your choice product from Farm to Fabric– your Life Sustainable Textiles through every stage of production.

A welcome break 2011/12; an escape of ‘paradise’ proportions.

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Hylton Nel Studio, Wesoever Calitzdorp.

Having a goodbreak, an academic recess and or a holiday is essential. Spending time in themother city, Cape Town and seeing my family, requires a long car journey thattakes one through various types of landscapes. Every year my trip includes astay over at Hylton Nel in Calitzdorp, situated in the Klein Karoo (image of his studio above).

Coldplay's single Paradise.
Video filmed in the Klein Karoo.

The titleabove takes its inspiration from the song Paradise by Coldplay, transmitted by various radio stations along the way (the video waspartly filmed in the Klein Karoo in South Africa). The journey often includesmore than one stopover and a variety of valuable experiences – a much needed escapefrom JHB. It also grants one the opportunity to read, socialize, wine and dine withfriends whilst trying to find the time to review one’s future goals,achievements and aspirations.

Xiaxuan photographed at Hylton Nel's exhibition.

Hylton Nel and his protege Nico Masemolo exhibit at Fine Arts Knysna.
The journey to CTtook an unexpected welcome detour to Knysna, situated on the beautiful GardenRoute. As mentioned I normally spendsometime with Hylton Nel in Caltizdorp, a refreshing stopover for the very longjourney. He and his protégé, Nico Masemolo had an exhibition opening at gallery Knysna Fine Arts, the very night we planned to stop over. The journeythere took 14 hours; road construction caused delays and mainly because half ofJoburg decided to embark on their journey on the same day and at the same time. The entire N2 down south to Colesburg was one long trail of cars andtrucks. Some towing caravans and trailers, loaded with holiday goods, includingHarley-Davidsons, bicycles and braai-equipment - slowing down the travelingspeed drastically.

Exhibition by Nico Masemolo. Hylton Nel's protege.

Works by Nico Masemolo.
Hylton Nel's protege

Holiday activities / experiences worth mentioning.

The garden routeconsists of many splendid places to stay, dine and wine with splendid views ofthe sea. We stayed at the Rex Hotel in Knysna and had dinner with Hylton, Nicoand Bernard at the Island Cafe Restaurant at the Turbine Boutique Hotel and Spa. The next morning we had breakfast at the spectacular Views Boutique Hotel & Spa Restaurant - images shown here.

Recommended Book – a great read during my stay in Cape Town

Freddie Mercury – The Definitive Biography, written by Lesley-Ann Jones.

An informativeaccount of his life as front man to one of the most unique Rock Groups Queen; theunrivalled musical genius that he was and is (The ultimate Rock God), his confusedsexuality including encounters and desires, his loneliness and final strugglewith aids.

Proud chefs, Myself and Hugo Barnard.
At his home in Sea point

Food

Numerous meals atfriend’s homes and at restaurants in Cape Town, especially Harbour House inKalkbay harbour, Wakame in Mouille Point and Hemelhuijs in Waterkant street inCape Town.

Route R62 (Cape Route 62)
The journey back to JHB provided numerous sights and opportunities to capture the incredible landscape. However I was pressed for time and the best views were in the rear view mirror, making it impossible to select the right spot. Here are a few.

Huisrivier Pass into Calitzdorp.

Route R62

The trip backhome is via arguably the world’s longest wine route, the R62 (Cape Route 62) for a night or two in Calitzdorp. This scenic drive must rate as one of themost majestic and enjoyable (relaxing). From Worcester the drive goes throughRobertson, McGregor, Ladismith and a special mention Barrydale. Here I stoppedfor lunch and discovered a gem, a very special new restaurant called WheatlessWonders - the home of gluten and wheat less baking and cooking.

Wheatless Wonders in Barrydale.

The owner Dora duToit informed me that her products were born out of her own desire and passionfor baking and cooking - a direct response to her own problem with wheat andgluten products. Opened two months ago, it is a fabulous alternative to the obviousfast foods on offer on route. I love bread and have a gluten problem. Theirproducts however just taste delicious and are made for those who share mydesire for freshly baked breads and pizza.

Hand Weavers at Barrydale

While waiting formy wheat free Pizza, I went for walkabout and discovered another gem, Hand Weavers situated directly opposite the restaurant. Here they weave carpets, tablerunners, shawls and throws including a wide variety of bespoke woven products,using mainly cotton and recycled materials. They design and weave all their own products. The project is a creativeindustries initiative to provide skills to individuals who would otherwise beunemployed. Visit the link and give your support.

Article in Art South Africa.

2011 it has beena good year for me. A successful major work completed and exhibited; a ceramicinstallation with projected animation, titled and the ship sails on, which took over a year to complete. Itsecured me an article in the latest issue of Art South Africa page 56-57, published inDecember. Hopefully the article titled, The Ceramic Surface; a virtualCrossover, will showcase my work nationally and finally reestablish my role asa serious artist.

On route home.

Upcoming exhibition.

Being a full-timeacademic and making work requires a very balanced approach to life. Solitarinessis a key factor in developing creative ideas and realizing them in appropriateand suitable techniques and methods. Thinking through drawing has been my majorcreative approach in realizing my concepts. It is therefore time to focus my attention on the drawing books,printing them in limited editions and making them available for sale to artgalleries, museums and collectors. A planned one-person exhibition in the firstquarter of 2012, exact dates to be announced soon, will pave the way for a new additionto my creative output - the design and development of Artist Books.

Rosendal experience at the start of 2011 recess

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It is that time of the yearagain, when all Gauteng residents escape to more desirable and delectabledestinations, albeit just for a moment – to soak up the sun and swim in the sea etc. etc..Most of the Jozi (Johannesburg) restaurants, bars and local small street malls are shutdownfor the festive season. The owners, managers and waiters all take a much-neededbreak, leaving the city deserted and traffic free. It is a time to braai(barbecue), drink and be merry (Christmas is here again).

My holiday startedwith a three-day break at my favourite weekend-away spot Rosendal. Pleasefollow link to previous post titled, The Rosendal experience is more than justanother country treat.

Road to Fiksburg

I purchased a18-200 lens for my new camera, the Sony NEX 5 and decided to shoot my Rosendalexperience up close. Included are visuals of our walks round town (visits tothe trading stores), our delicious food and a glimpse intothe variety of animals occupying the property.

He built a pond andmaintains a fabulous flower, vegetable and herb garden that adds to the countryretreat’s value adding experience. Situated in town, this man made countryutopia is nestled in between other properties, and is therefore without thespectacular views of those homes situated on the edges of the town. The gardenand small animals on his property therefore provides an alternativenaturalistic environment to the already incredible surroundings.

I enjoy cooking, especiallyat Rosendal. Having access to organically grown vegetables, salad leaves andherbs makes the experience that much more desirable. Picking your owningredients surrounded by ducks, geese, birds and bees makes cooking anultimate pleasure. Showcased here is a pasta dish cooked for the weekend away’s Saturdaylunch.

Prawns with French shallots cooked in an Italian Arrabiata sauce with atwist. Served with squid-ink pasta and broccoli as a side dish. The rich red ofthe tomato sauce and pink hue of the prawns contrasts sharply with the greenvegetable; a visual feast for the eye and tasty combo.

Prawns Arrabiata served with squid-inkpasta.

Slice a few French shallots (from Woolworths).

Finelychop three green chilies (remove the seeds)

Alsochop three garlic gloves – orminced (fresh and crunchy).

Heat a small quantity of olive oil in a pan.Add the French shallots and chilies and frygently - till the shallots are almost soft and golden (sautéed).

Add the garlic and fry for just a fewmoments –release the aroma.

Add a tinor two of whole cherry tomatoes with the sauce (also fromWoolworths). Depending on the number of guests/servings.

Add the chopped leaves of a sprig of oregano (or two) to thesauce (hand picked from Daniel’s herb garden). Alternatively add parsley – a more authentic approach.

Alsoadd a squirt of organic Italian tomatopaste (choice grade in a tube, also from Woolworths) to the cooking sauce.Cook for a few minutes.

Addthe pre-cooked and shelled prawns(also from Woolworths at R69.00) to the sauce including a batch of basil leaves and cook for a few minutes.

Cookuntil heated through to blendflavors.

Addsalt and pepper to taste.

Meanwhiledrop the bowtie shaped squid-ink pasta intothe lightly salted boiling water. When the pasta is cookedal dente (about seven minutes), switch off theflame and add a glass of cold water (stop the cooking of the pasta). Drain and set aside.

Forthe lunch I also boiled some broccoli,(their stems sliced down the middle at the thicker end - to speed up thecooking time and more importantly to cook through evenly). Drain whencooked; ensuring it retains its green colour and remains firm to the bite.Serve with sprinkled lemon juice(not too much), black pepper and grated Pecorino cheese.

P.S. Some Italian recipes state that you don’t grate cheese over thisseafood dish – I grated cheese over, as you can see.

Serveon a platter with a delicious wine; our choice was a Haute Cabriere Chardonnay / Pinot Noir.

Recent developments in Rosendal.

Rosa Restaurant

Walksthrough the town reveal constant changes in the localbusinesses. The restaurant has changed ownership and with it comes a face lift –a new style including menu revealing the owner and new chef’s personal touch.In a small town like Rosendal such change is radical and brings a new dimensionto the hospitality rituals the country retreat has to offer.

The creative touchof neo-sculptor Dahla Hulme isevident. Her bold works, although utilitarian in function, has a very strong one-of-a-kindsculptural quality. Visit her website toview her work.

Othernotable changes are that of SandraLemmer’s recent additions to the few noteworthy business spaces in town.She has converted another landmark into a trading store photographed here.Every angle and corner of this store is meticulously styled – her creative touchis evident throughout.

From the very last tin at the very top of each of thestacked products to the colour coded display’s of enamel jugs, basins andpots at Enamel. Each room carefully arranged from an open-museum and or film setperspective. These authentically recreated trading stores are strategicallypositioned in the town and maintains the nostalgic bygone era of this veryspecial country retreat. In sharp contrast to the very commercial andovercrowded Clarence an hour’s drive away.

This weekend away has mostcertainly stirred up the holiday feelings within my blood and tomorrow morningwe are on our way on my way to Cape Town. We will spend one night in Knysna –the beautiful Garden route.

Food Wine & Design Fair 2011 - Hyde Park Rooftop 25 - 27 Nov., 2011.

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Botanica Products, Studio Formafantasma,
as cited in Vogue living Australia.
See more images and text below.

It is that time of the year again; thesummer is upon us. Time to get out of the office and the comfort of ourhomes to enjoy the sunshine, the hot weather and the green grass.

The flowersare blooming and for some of us the flesh is freshly tanned from the scorching sunon the Highveld. This weekend offer those individuals keen on good food, goodwine and fine design, the opportunity to celebrate the natural goodness thatlife has to offer.

The Food Wine Design Fair - Hyde Park Rooftop 25 - 27 Nov. 2011. I am referring to all things natural and authentic – the Neogreen as cited at Neo Green Life. Their buzzwords are ‘sustainable’, ‘clean andgreen’ and ‘carbon footprint sound the call for a new paradigm that willprotect our planetary resources for future generations.

Goet Design

This year’s Food Wine Design Fair (Roof topHyde Park), it would seem, the focus is on everything clean and green. Wood iseverywhere to be seen. The emphasis is definitely on the natural, there is noneed for heavy makeup, and don’t expect excessive glamour. Be yourself anddress freshly for the occasion, come prepared to relax, to touch and to smell.It is all good, fresh and delicious.

Batch Design

Latest Trends as cited in Elle Decoration SA & Vogue Living Australia.

These ideas are in keeping with the latest trends as advocated by the local Elle Decoration and VogueLiving Australia. Issue no 80 revealing 42 New Ways with Flowers and Invougefocusing on Organic matters – the natural bounty.

Overberg Farmhouse interior as cited in Elle Decoration

Deco’s spring issue is packed withspringtime inspiration – from clever ways with flowers to garden fresh recipes.But says Laureen Rossouw the editor, it is also about being imaginative andspontaneous, and staying open to the beauty around you, no matter the weather.

(as cited in Elle Decoration Oct/Nov 2011,page 9)

Nic Bladen, Botanical Sculptures.
Frozen in space to preserve a piece of nature.

Thework of Nic Bladen needs special mention here, beautifully cast jewellery andsculptural works. Demonstrating his master casting techniques. Reminiscent of botanical studies, true tolife, they embody our determination to preserve nature at a time of radicalclimate change and global warming. Untouched and unspoilt, these plants willnot fade or die, frozen in space even their roots are captured, leaving nothingto the imagination, but everything to be admired and desired.

Botanica Products, Studio Formafantasma.
As cited in Vogue living Australia.

Invouge’s Organic Matters.

Produced by Studio Formafantasma, theBotanica exhibition was a highlight of the recent Milan Design Week. Theproject, commissioned by Italy’s Plart Foundation, investigates Ecoalternatives to synthetically derived plastics: natural -, plant -, and animalbased polymers such as dammar (a varnish tapped from trees) and shellac ( aresin secreted from the Lac Beetle).

Vase, Botanica Exhibition.
Studio Formafantasma

These faux-plastic pieces have found voicein a move to organic materials , motifs, pictured above and below. (cited in vogue Living Sep/Oct 11, page 25and 26).

Please do yourself a favour and visit theStudio Formafantasma website, it is an inspiration. Not only are the productsevolutionary organic but they beautifully designed and styled, with a strongJapanese minimalistic look and feel throughout. These are breathtakinglybeautiful products and images. Bravo Studio Formafantasma.

Coffee Table, Botanica Exhibition.
Studio Formafantasma

All the goodness the Swartland has to offer.

Make your way to Hyde Park Johannesburgtoday for the final day of the second Food Wine Design Fair 25 - 27November 2011.The design is fine, the food is divine, the wine sublime and people awesome.Situated in a long tent on the roof-top of the shopping complex, the quirky diningtables placed down the center of the space and the products of the finestjewelers, craftspeople, winemakers and top chefs are situated on either side.The displays of furniture, ceramics, Art on paper and all things edibleheightens the senses, contributing to a fabulous atmosphere. I loved the flowercroquettes from the BarBarBlackSheep Restaurant. They are based in RiebeekKasteel – 60 min drive from Cape Town on the N7. Absolutely delicious. Scaleddown from last year’s fair, the reduction in craft exhibits are disappointing, but does not in anyway impact onthe fantastic and fabulous food wine and design event. It needs your support asit is truly local, green and clean – what more could you ask for.

I went for a few hours in the afternoon andstayed almost the entire evening. Loved it.

Table Mountain - a new World Wonder.

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Spectacular vista from table mountain

Table Mountain,the world heritage site was voted one of the New 7 Wonders of the World. Asa mountain goat (born in the Western Cape) I could not resist to get allemotional and nostalgic. Brought on by the fact that it is the almost the endof a rather hectic year.

The summer recess is imminent and I must be feeling homesick – this after migrating to the Highveld many, many yearsago. Maybe it’s the desire within to getcloser to nature – or worse, to escape Johannesburg for all the right reasons.

Dare I say, it rates as one of the ugliest cities in the world – especiallyduring the dry, cold and colourless winters. There are no mountains (only koppies), or a majorriver and there is no sound of waves crushing down on sandy shores.

Although I hated the Cape’s wet winters and the hectic South Easter (wind),nothing beats the Cape beaches, Kirstenbosch Gardens, Cape Point and the WineRoute, etc., etc., etc. An absolutely fabulous holiday destination.

up the mountain in 1995-6

When last haveyou taken the cableway up Table Mountain? The images above show me on theMountain in1995-6. I was particularly impressed with the amazing landscapearchitectural structures from which to enjoy the many spectacular vistas of theWestern Cape.

Beautifully designed and constructed with classical linesreminiscent of yacht’s bow. (seen here on the left). TableMountain Aerial Cableway Company was recently accredited for their efforts inenvironmental and social responsible tourism in Southern Africa. They weredeclared the overall winner at the Imvelo Responsible Tourism Awards. Alldrinking water, sewage and waste is transported via the cable car.

For a virtualexperience visit the following site Table Mountain - a 720 degreesvirtual view from the top (scroll down on the link provided). An absolute must see if you cant get there in person.

The Amazon

The six other new seven wonders of the world are the Amazon in South America, Halong Bay in Vietnam,Iguazu Falls in Argentina, Jeju Island in South Korea, Komodo Island inIndonesia and the Puerto Princesa Underground River in the Philippines.

Iguazu Falls in Argentina

Halong Bay in Vietnam

Jeju Island in South Korea

Komodo Island

Puerto Princesa Underground River

Hon's homage to Sue Greenberg

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The blogger captured this image on one of his trips to NID in India.

The truth be told, that when truly great figures, synonymous with the founding and managing of organisations,centres of excellence, NGOs, galleries and museums, move on, it more than oftenheralds in the end of an era. Their drive and commitment is fueled on by their uncompromisingpassion. Their heart felt vision impregnates every nook and cranny of the causeand is manifested throughout the organization in every object, product,decision and effect. Such is the nature of the beast, of which legacies are made.Loved and or hated for their every decision, the go-ahead required in everysphere of the place and or space, spurned on by their meticulous attention todetail. A hands-on approach often misconstrued as their need to control.However no one would disagree, that long after this journey has ended, fondestmemories, will linger longer in the acknowledgements and admiration of their family,friends, and protégés. Theirs is a contribution that will forever beremembered; etched in the historical archives, but more importantly, is shared andhonoured by all in the community.

Ukhamba Zanele

Mention those whocontributed significantly to the development of the crafts in KwaZulu Natal(rural and urban) for decades, then one individual stands out as a key pillar of the arts and crafts community. Sue Greenberg’s nurturingqualities are endearing. Her commitment and dedication often extended farbeyond the call of duty and available resources. All in support of the joy of making – thehandcrafted artifact. Hence the name ofher most recent craft ventures, The Artisan, the meticulously considered,beautifully realized, efficiently and effectively managed Gallery on FloridaRoad.

Artisan Contemporary Gallery

Her promotional and curatorial endeavours in support of the crafts (NationalLiving Treasures) may have changed location, position and face over many years,but her steadfast commitment to promote the work of local crafts people, willforever be remembered by all whom have had the pleasure to meet her and workwith her. I am sure all artists, crafts people and in particular ceramistswould agree, that her decision to move on, will leave a huge gap in the localcrafts and in particular the ceramics sector - follow link to see the ceramics in her gallery. Her experience and knowledge willbe sorely missed, the impact of which will be felt far beyond the borders ofKwaZulu-Natal for many years to come.

One of our many field trips into the Tugela Valley. Gauhar Raza,
Hester Du Plessis and Sue Greenberg, visiting the
Mgwassa potters.

I personallystand in awe of her generous support to the ceramic and craft communities. I haveknown Sue as a personal friend for many years. Our association reaches far backand involved numerous ceramic and craft ventures, including the establishmentof the local craft council, excursions into the rural areas (see images above) and curating numerousawards exhibitions. More recently Homageto Nesta Nala, held at the FADA Gallery in 2007 (images featured here and Below). Without her contribution, our national exhibitions andcompetitions would not have been truly representative.

Nesta Nala, Uphiso, collection UJ.

Nesta Nala, Ukhamba.

In our many yearsof collaboration and association, one event in particular, stands out as anunforgettable experience. The moment Nesta Nala was pronounced the Gold Awardwinner at the first ever-prestigious FNB Vita Crafts Now Awards exhibition - heldin Natal in 1995. This was the year SA won the Rugby world cup.

Nesta Nala
Image Hon.

Everyone was soemotional. Honouring Nesta Nala in the flesh with this prestigious national award, herald in a new era for local crafts. The awards exhibition bore testimony to our diverse cultures –finally we have reached our goal to promote the work of all craftspeople acrossthe nation - rural and urban. As the co-founder of the South African CraftsCouncil, I worked closely with Sue Greenberg, the local Crafts CouncilCoordinator, to host and curate the awards exhibition sponsored by FirstNational Bank.

Ukhamba, Zanele Nala.

Some of our local crafts people live in the most remote areas ofour country and for centuries their contribution to our culture remainedunrecognized (apartheid legacy). Sue’s close association and communication withthe artist and her family ensured the artist's presence at the event (atshort notice) - she had to make many personal sacrifices to achieve this. Woman like Sueare seldom honoured for their uncompromising support for the local crafts by regional and national governments. She made it happen at all costs and it was very specialindeed. A moment I will cherish forever. Bravo Sue Bravo.

Exhibition at Artisan titled Memories

Please come and show her your support at this her swan-song exhibition at the Artisan Contemporary Gallery, titled Memories – a mixed media exhibition by 30 artists in celebration of a29-year association with Sue Greenberg. To be opened by Brenden Bell, directorof the Tatham Art Gallery, at 18:00 on Wednesday 9 November.

Joburg Gay Pride 2011; Desire & Aspire.

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Pride of Africa

Joburg Pride 2011celebrated its 22 years of existence at Zoo Lake Sports Club on Saturday the 1^stof October. The theme this year was Born This Gay. The celebration started withthe usual march through the streets of Rosebank, starting and finishing at ZooLake. This year’s focus was directed at upholding our liberal and all inclusiveconstitution; calling for the protection of all human rights contained therein,but especially those sexual minorities who are victimized on a dailybasis. (as cited in the official Guide for Joburg Pride, Pride of Africa).

Joburg Pride 2011(official website link)is therefore proud to present its theme for 2011 – Born This Gay. The aim isto creatively, without fail and without shame, encourage society to speak outand take action against lesbian, gay, bisexual and transgender hate crime. Theentire community needs to consistently drive the message that being gay,lesbian, transgender or intersex is NOT a fashion statement, a sickness, acrime, a curse or a choice.

Since the firstdemocratic election held 17 years ago, in 1994, we would have hoped for somechange, increased education, protection and justice. We live in a society withthe most liberal constitution in the world, however discrimination and abuse isan everyday occurrence; If being in the closet is hard enough – then living alife with issues being swept under the carpet is even worse.

These imagesshowcase the festive spirit of the Party ; a Gaycelebration of freedom of association. The event, as always, was stunningly organizedand marvelously supported and held in a good spirit. Not to be missed if youwish to enjoy yourself in a place with arguably the best party goers in thebusiness (in solidarity of course).

All inhibitions were forgotten during theparade as lovers, friends, acquaintances and the inquisitive, all joined in thethirst quenching party at the Zoo Lake Sports Club (no alcohol was permitted tobe consumed during the Parade). The outrageous attire and well-toned fleshprovided a to be desired and aspiredappeal amongst the party goers. This was an opportunity to be, and to be seen,adore and be adorned.

This event, held annually during the months of spring,provides a perfect platform for body-perfect vehicles to drive home desiresamongst the aspiring revelers. Joburg Pride annually is an event to express yourself,to forget yourself, be true to yourself and or just admire the other being and enjoying themselves.

Liebermann Pottery; Adriaan Turgel, the pottery detective.

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Situated inJohannesburg, opposite the University of Johannesburg Auckland Park BuntingRoad Campus (location of the Faculty of Art, Design and Architecture and theHotel School), is Liebermann Pottery.

The space and the ceramics is synonymous with Adiraan Turgel, anenthusiastic and determined entrepreneur, with a passion for ceramics.Established in 1952 by Sammy Liebermann and inspired by the Bernard Leach,Shoji Hamada tradition. For many years, it produced a wide variety of handmadecottage tableware, even supplying restaurant-chains across the country (MikesKitchens and Spurs).

Sales Office.

Variety of Liebermann pottery

Spiritual corner.

The space andplace is constantly transformed by the pottery detective himself, its look andfeel formed and shaped by ceramic imports; new arrivals in all shapes andsizes, mainly from Asian countries. China and Vietnam to be more specific.Garden pots, tableware, fine bone china, sculptural ceramic ornaments and even traditionalpolitically charged Chinese memorabilia (propagandist) are for sale here at reasonable prices.

This pottery offers the largest collection of asian pots in the country and includes the biggestcollection of bonsai pots on the continent.

Every little space, inside andoutside of this historic landmark, the Gasworks, is packed with ceramics. Many anarchitectural student at Wits and at UJ has had to apply their design skills inan attempt to find creative solutions to better utilize this space.

However thepresent utilization of the space, home to a vast number of ceramic products ofvarious oriental styles including Liebermann's pottery itself, is a feast for the eyes.

The stacking of the pots ‘en masse’creates a unique visual experience; the closest one would ever get here in Jozi, to a ChinesePottery on the continent of Africa.

It is in closeproximity to the now well-established shopping precinct of Stanley 44. Little courtyards and alleys in a reconstructedindustrial space create interesting revamped and configured interior spaces forfine restaurants, shops, a gallery titled Art on Paper and a fabulous bakery. This is as local and intimate as it gets,for a truly authentic shopping experience. Lofts occupied by trendy residents makethis location one of our most successful contemporary style shopping and culturalprecincts in the city – in line with contemporary consumer expectations for avalue adding experience. Value for money is served with a local andsophisticated flavour, creating a stylish and vibrant atmosphere. The smell offreshly roasted coffee (Beanthere) permeates the air from a distance, whilst theallure of fresh bread Vovotelo Bakery, makes this a thirst-quenching watering hole for thediscerning shopper. The trees have now grown to a desirable height and the fewfountains with churning waters makes it a very special place indeed – Millpark’s oasis.

Ballpoint pen drawings of jewellery designs; cuff links and rings with pearls.

2011-09-05T10:41:00.000+02:00

Large corsage brooch, Designer Henri Vever (1854-1942),
showcased at World's fair in Paris in 1900.
Thomas Faerber Collection, Geneva. cited in Book titled Pearls.

The designs for the jewellery pieces areprogressing well. I have completed the colour drawings for the ring design showcased in a previous post. Stepby step preparatory ballpoint pen drawings, featured on previous blog posts with the label Jewellery Designs (follow link). I refined the design byaddressing the use of colour to enhance symmetry (to be enameled).

Ballpoint pen drawings; jewellery designs for cuff links and or rings.

For the past two weeks however, I have focused my attention on new designs, rendered in preparatory ballpoint pendrawings showcased here. I have had to reduce the scale of the drawings toaddress design preferences and styling to scale.

I have also extended myproduct range, opting to include neck pieces, cuff links and more rings. This hasbeen a very exciting journey for me, as I am responsible for teaching drawingsin the Jewellery Department. I have spent long hours honing my drawing style,especially rendering skills for jewellery design and manufacture.

I have also tried to render and capture theforms and shapes of pearls, as they feature strongly in the mythology of thefive-clawed dragon. The dragon chasing a pearl ringed with flames, is at thecentre of the inspiration for my ceramic installation with projected animation,titled and the ship sails on (image on the left). Although it does not feature in the work atall, I have decided to incorporate pearls in the jewellery pieces for thefollowing reasons.

To this end I have referenced an incredible book/catalogue titled Pearls. The book servesas a catalogue to an exhibition, also with the title Pearls, curated by theMuseum of Islamic Art in Doha. The exhibition ran from January – June 2010. Theauthor of the book was Dr Hubert Bari and David Lam.

The Islamic Art Museum Qatar Doha, Architect IM Pei.

It is an extensivepublication that documents the formation of pearls, its history, their cultivation and finally atribute to the first lady of pearls, Mademoiselle Chanel. The book alsoshowcases historically significant and archetypal jewellery pieces as well as contemporary designs that are breathtaking in their beauty and design (image below). The post title image a fine example, arguably the most stunning jewellery piece featuring pearls ever designed.

'Cristaux Perles' necklace composed of
diamonds and pearls. Cited in Book Pearls

Firstly, I have to address its importanceand significance to the Chinese culture and in particular its symbolicassociation with the dragon. Next yearbeing the Year of the dragon and as mentioned on previous blog posts the themeof my exhibition in January 2012.The pearl represents a principal of life andembodies revitalization. Many sources do however question the fact whether theround forms and shapes in early artifacts does originate from the pearl itself orits association with the moon. It does not really matter, what is important are their symbolic meaning and significance. Both emblems embody fertilization andregeneration. The dragon pursuing a pearl is synonymous with the moon cycle - theiridescent sphere moving through the night sky. When caught and swallowed by the dragon, itexemplifies the rare occurrences of an eclipse. Hence the Chinese fascinationwith pearls, its cultivation and incorporation in body adornment.

Gabrielle Chanel, portrait by Boris Lipnitzki (1897-1971)
cited in book titled Pearls (Bari & Lam; 2010)

Man Ray 1935.

Hommage to Mademoiselle Gabrielle Chanel –and her pearls.

Secondly, is the association of pearls withthe fashion icon Coco Chanel (1883 -1971)? Her pearls were her most adorned andcoveted possessions. She was apparently infatuated with their simple and yetlustrous and iridescent qualities. She would not be seen without them. She washowever less concerned with the value of the pearls than their strikinglustrous simplicity. She even wore fake pearls.

Go and look for my pearls. I am not goingup to the ateliers until I have them round my neck, for I insist on being acredit to my girls.

Gabrielle Chanel.

The Kim Sacks Gallery; Recent Ceramics by Catherine Brennon, Heather Mills & Lisa Ringwood.

2011-08-22T22:30:00.000+02:00

Arguably one of the most stunninggalleries in South Africa is The Kim Sacks Gallery. The building, painted a richterracotta, is similar to the colour of soil on the Highveld, and the structureis modeled on indigenous African clay dwellings.

The building is in sharpcontrast to its surroundings, located on Jan Smuts Avenue, one of the busiest roadsin Johannesburg. However the exterior provides insight into an African experience,which welcomes you the moment you enter the gallery through the wrought-ironkraal gate. This is a truly African celebration that instantly transports youinto a double volume cool space, that is indicative of an African dwelling, asafe haven from the scorching sun in arid landscapes in rural areas, be it Venda and or KwaZuluNatal.

In recent years, the area onJan Smuts Avenue has become an art precinct; home to the Linda Goodman Gallery,Art Space and further up the road, the Circa Gallery, to mention a few.

Inside the space however youexperience the vibrancy of Africa, especially indigenous South Africa, in allforms, shapes and function. I can’t even begin to imagine what it must be likefor a tourist, especially from the Nordic countries, to step into this slice ofAfrica. The Fins and the Swedes have influenced the crafts and in particulargood design for many years, but I am sure, nothing quite prepares them for thisspace. Its richness, vibrancy in colour and array of diverse African artifactsmust be overwhelming to the point of exhaustion.

Burnished Pots.

Each object handpicked andselected by one of the most discerning eyes in the business, Kim Sacks herself.Her own work inspired by the Nordic craft aesthetic conventions. Every nook and cranny of this gallery drawsyou into art and craft forms; handcrafted to perfection, fine examples of theircraft style and or tradition. Here you get what you pay for – a piece of SouthAfrican authenticity.

Plates by Lisa Ringwood.

The gallery-shop also hosts one-person and groupceramic exhibitions. On display at the moment is the ceramic work of Three Women; Heather Mills, Catherine Brennon and Lisa Ringwood – recent ceramicworks. Make your way to this gallery and feast your eyes on finely handcraftedceramics that will inspire you and should you purchase a work, bring the heartof Africa into your home.

Ceramics by Heather Mills

The exhibition runs for a few weeks only – make sureyou don’t miss this one (closing date 27 August). Organise a group to visit theexhibition, and I am sure you will get to experience the hospitality of thegallery staff – tea at the fireplace.

Catherine Brennon

Should you wish to see more Images andread the artist’s statements, follow the link to the gallery website.

www.kimsacks.com

Catherine Brennon Plate.

Ballpoint pen drawings, ring design II. Refinement of form, structure and decoration.

2011-08-16T19:45:00.018+02:00

Refining your design concept throughdrawing is essential.

What follows is the final drawing, step bystep, in black and white. Colour will now be added and featured in the nextpost, entered shortly.

The drawing was done using a ballpoint pen -a fine Big pen. Comparing the drawings of this post and the previous entry willindicate the subtle design changes. Brought about through valuable critique bycolleagues and students at the Department of Jewellery Design and Manufacture,where I teach.

Refinement of the design and the drawing.
Changes made to the flaming leaves,refining the symmetry of the forms and shapes of the leaves and the flowers(the composition) I also took into account the negative shapes created by theleaves and the flowers. Possible manufacturing techniques and methods were alsoconsidered in the drawing.

Paper choice

The final drawing was made on page from aAshrad Sketch Pad, a cartridge paper 200gsm. The previous drawings (previous post entry)were in a Moleskine sketchbook. The paper is very yellow, maybe faded, boughton a sale. The texture of the paper isbest suited for pencil. Many of myprevious sketchbooks are Daler-Rowney, 150g/ms, acid free paper. This is the best paper as it has a very slighttexture and can take serious crosshatching without bulging. The slight textureprevents the black-ink drawing from flattening out, due to excessivecrosshatching. I believe that this enables the drawing to breath, the whiteshining through. A certain amount ofluminosity is achieved this way – a sheen is obtained. I wish to believe, this look is specific to ballpoint pen drawings.Very satisfying indeed.

Ballpoint pen drawings, ring design. Chinese Dragon.

2011-08-07T21:01:00.004+02:00

Ballpoint pen drawing of jewellery piece.
Dragon based gold band, scales of fish.

For the past fourweeks I have been working on concepts for jewellery pieces. I am designing arange of jewellery pieces based on the ceramic installation with projectedanimation titled, and the ship sails on(follow link and or blog label for images and text on the ceramic work) I havebeen granted the opportunity for a one person exhibition at a leading Jewellery store, Elegance.

It is situated in an exclusive shopping complex in MelroseArch, Johannesburg. The exhibition is scheduled to take place early next yearand coincides with the Chinese New Year Celebrations. Central to the exhibition will be my latest ceramic statement, a ceramic installation featuring a five-clawed dragon. As mentioned in a previous blogpost entry, next year is the year of the dragon. All works exhibited will therefore embrace the theme in various forms including artist books with a CD of the projectioninserted in the cover.

I will also frame a number of my ballpoint pen drawings(a limited edition of printed drawings on acid free paper) The exhibition willalso feature a number of ceramic works (painted decoy ducks) with surfacedevelopment options, based on the projected animation of the five-clawedChinese Dragon. The decoy ducks are the major products in the installation (image below.

Decoy duck with projected animation, peonies.

Ballpoint pen sketches of ideas and reference material.

Jewellery Pieces– Artist Intent.

The followingdrawings are initial sketches of design concepts and ideas, based on chosen referencematerial - the earliest known Chinese jewellery pieces, carved in Jade. Seeprevious blog post for more information including photo documentation andrelevant books.

I want the jewellery pieces to have a strong Chinese historical reference,ensuring a certain amount of authenticity. However the concepts had to be innovativeand creative with a strong contemporary design style. More importantly it hadto be an extension of my latest ceramic statement – the central piece ofattraction at the exhibition. The dragon therefore has to feature in thejewellery pieces.

I had a strongpremonition that jade held an important clue to the origins of the dragon and Itherefore did research on both. Needles to say that I was right, the earliestof Chinese Jade pieces incorporated mythical images of the evolving symbolism of the dragon. For a synopsis into my research and historically significantimages, see my previous blog post – follow link or label.

White Jade, 4.5cm.
Collection Institute of Archeology,
Zhejiang Province, China.

The first Jewelleryconcept is based on the following jade piece. It is from the Liangzhu cultureand has close connections with early Chinese religion. The piece of white jadewas found at the foot of a body in a tomb at Yaoshan, Liangzhu. It is now inthe Institute of Archeology, Zhejiang Province. The jades function is unclear.

The origin of the Dragon (Chinese) - Hongshan Jades.

2011-07-25T21:22:00.007+02:00

Plaque with confrontational Dragon, Jade (length10cm),
Ming Dynasty - the Glorious Age of Chinese jade.
A confrontational dragon, also to be seen on ceramics
and other media. (Keverne 1991:142)

The origin of the Chinese Dragon can be traced back to the earliest of royal families during the Ban Guand Nuwa periods; the slave-owning and feudal landowning eras in Chinesehistory. The research is based on legends defining the origins of the dragon asdepicted on archaeological artefacts.

Ritual Bi, Jade (21.7 cm diameter)
Central hole - carved with an open-work dragon,
rearing around a smaller bi disc. Two massive and
elegant dragons prowl around the perimeter.

Thesemainly date back to the Shang and Zhou periods. Artefacts from these cultures indicatethat the forms and shapes of the dragon were already well established. Earlypottery shards from the Erlitou and Xiajiadian Lower Level Cultures, reveal thatdragon patterns were already well developed. It can therefore be assumed thatthe dragon, in various forms and shapes, could possibly be traced back to theNeolithic period.

Jade as Jewellery.

'As a broad principal it is possible to postulate that in Neolithic times, before the emergence of the working of gold and silver as commodities and treasures of extreme value, the great obduracy of jade and the commensurate difficulty of working it meant that it was used as jewellery to bestow citizens with wealth or high status or to symbolize meaningful ceremonial purposes. It was an extreme luxury and not available to the common man. The inordinate length of time it took for jade to evolve to this status gave it an aura and esteem that even gold and silver were not able to dislodge until very recent times' (Keverne, 1991:55).

Dragon head Bi, Spring and Autumn period.
Jade (5 cm). The inner and outer bevelled borders
enclose a field of dissolving dragon heads.

It was howeverthe discovery of Hongshan Culture Jades, depicting dragon shaped and relatedbeasts, that the origins of dragons can be traced back to the earliest forms ofcultures, labeled as ‘primitive times”.

Pig Dragons, Hongshan Culture,
are in the form of "C" shapes.

Determining thedragon’s earliest forms and shapes, configurations of the dragon (animalmythology), is an ongoing complex academic study. Whether its body is associated with thesnake, the crocodile and or lizard and its head with that of a horse and or oxhas strong literary claims. The jades mentioned above, clearly indicate thatthe body is representational of a snake (serpent) and that the head is mainlyassociated with early farming animals such as pigs (the animals early man knewbest – primitive Chinese agriculture).

The evolution of the dragon.
patterns on pottery shards.

It would seem that the characteristics ofthe beast shaped jades therefore feature a large head, protruding lips, thickears, facial wrinkles and teeth protruding out of the mouth, and best fits thedescription of a pig.

Four Bi-shaped Pendants, Liangshu Culture.
Jade (diameter 4.8 cm)
Dragon head patterns.

Slender Dragon Plagues.

During the Neolithic period the dragon transformed anddeveloped substantially even though a number of artefacts continued to resemblethe characteristics of the pig. A creature associated with there livelihood.

'The worship ofdragons has been connected with sun worship, itself directly related to theworship of heaven (which influences agricultural fertility); the so-called“cloud following the dragon”, “flying dragon in the sun” (Zhou Yi) and “dragonMakes rain” (Zhou Li – Kao Gong Ji), all which reflect the relation between thedragon, agricultural, and consequently climatic, matters'.

Claims were madethat pigs were sacrificed and that they became spirits associated with thunderand rain. Text and images as cited in the book titled Jade, edited by Roger Keverne and published by Van Nostrand Reinhold, New York in 1991.

Bi with Taotie Design, Jade. Han Dynasty (19.4 cm)
as cited in the book titled Jade ( Keverne, 1991:110)

The meaning and significance of the Chinese Dragon - 2012 is the year of the dragon

2011-07-18T21:13:00.000+02:00

Dragon in Hon's ceramic installation with projected animation
all images - Jan the UJ photographer.

Next year is the year of the dragon, in terms of the Chinese horoscope for 2012. What to expect, is determined by various factors as explained and disseminated in publications such as Your Chinese Horoscope 2012. However as designers and artists, the meaning and significance of the dragon is a complex subject. Details such as its claws could have radical differences in terms of the dragon’s meaning and significance. Every effort should therefore be made to thoroughly investigate the mythology of such creatures, especially with regard to their cultural, religious and sectarian value and importance. This is of particular significance, when the dragon is incorporated as the main design feature; referenced as central to the design concept and or idea. Getting it wrong, at this stage of the design development process, could have disastrous consequences. It could lead to the disqualification of your design in a competition. It can also be very offensive and or insulting on a national and cultural level (public relations) if the symbol is used without thorough research. Remember, the dragon is the cultural symbol of China and if used inappropriately could seriously infuriate a nation. This is true when they are targeted as consumers, in the design and manufacture of goods, and if incorporated as signs and symbols in marketing and communication products, especially advertising campaigns. Conduct your research thoroughly and make sure you have grasped the true meaning of the creature (from a cultural representation perspective), empowering you to incorporate the sign and or symbol confidently in terms of product development. This will ensure that you can explain its significance and incorporate the dragon in a design creatively, ensuring a sound and innovative end product.

Dragon in Hon's ceramic installation with projected animation

It is important to make sure that your research sources are reliable and your knowledge sites and or reference documents are credible and believable. That the websites, books and or magazines are respected as knowledge ‘centres of excellence' and that the authors are internationally accredited in terms of their knowledge of the field and the dissemination thereof. This is of particular importance when it comes to indigenous knowledge.

Dragon in Hon's ceramic installation with projected animation

The Dragon as defined by JC Cooper in his book titled, an Illustrated Encyclopedia of Traditional Symbols. Next year is the Year of the Dragon, in terms of the Chinese Zodiac, the following symbolism is therefore from Chinese perspective. Generally the dragon in the Orient, is a beneficent, celestial power while, in the Occident, it becomes chthonic, destructive and evil.

In the Far East it symbolizes supernatural power; wisdom; strength; hidden knowledge; power of the life-giving waters; it is the emblem of the Emperor of the Son of Heaven and, following him, the wise and noble man.

In Chinese alchemy the dragon is mercury, the blood and the semen.

Five clawed Chinese dragon as
captured on a rare blue and white 'dragon' moonflask as
cited in a Sothebys catalogue, 7 Nov 2007.

Chinese comprehensive (Taoist, Buddhist): The dragon and serpent are not separated in Chinese symbolism. The dragon represents the highest spiritual power; the supernatural; infinity; the spirit of change; the Divine power of change and transformation; the rhythms of Nature; the law of becoming; supernatural wisdom; strength. It is ‘the Celestial Stag’ the sun; light and life; the Heavens; sovereignty; the masculine yang power. The dragon of the clouds is also thunder and the fertilizing rain, the waters of the deep and spring. The Azure Dragon, lung, the highest, lives in the sky and is the vital spirit.; celestial power; infinite supernatural power and , on earth, the delegated imperial power, the Emperor. The lung, or Imperial Dragon, has five claws and its head is to the South and its tail to the North. It also represents the East and fertilizing rain.

The common dragon, mang, has four claws and is temporal power. The three clawed dragon was an early Chinese form, later to become the Japanese Dragon. Li, the hornless dragon, lives in the sea and controls the deeps; he also symbolizes the scholar. Chiao lives in the mountains or on land and represents the statesman.

nine resemblances of the dragon according to Wang Fu as
captured on a rare blue and white 'dragon' moonflask as
cited in a Sothebys catalogue, 7 Nov 2007.

The ‘nine resemblances’ of the dragon are (refer to image above) , according to Wang Fu; “his horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam, his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow.

The two ‘contending dragons’, facing each other are the yin-yang forces of dualism, all opposites and complements, celestial and terrestrial powers; they usually have either the sun or night shining pearl, the moon between them; backing each other they symbolize the yin-yang and eternity; chasing each others tails they depict the two-way creative action of the yin-yang powers.

dragon ball or flaming pearl as
captured on a rare blue and white 'dragon' moonflask as
cited in a Sothebys catalogue, 7 Nov 2007.

The dragon is often portrayed with the ‘dragon ball’ or ‘flaming pearl’ (illustrated above) and this has been variously suggested as ‘rolling thunder’ or the ‘rain-bringer’ with the dragon swallowing the pearl as the wane of the moon and belching it forth as the waxing moon, but in Taoism and Buddhism it is the pearl which grants all desires, the pearl of perfection, that is to say wisdom, enlightenment and the spiritual essence of the universe. The dragon with the phoenix is the union of Heaven and earth, Emperor and Empress, the divine potentially containing all opposites, also the interaction of the macrocosm and the microcosm, the two aspects of the androgyny, the rhythms of involution and evolution, birth and death. These are also symbolized by the double spiral. The dragon can depict lustfulness if portrayed with the tiger as anger and hostility.

'Kyngs Beestes' at Hampton Court Palace, absolutely fabulous.

2011-07-11T22:26:00.010+02:00

Kyngs Beestes at Hampton Court Palace.

Last week I watched a TV program on the restorationof the Hampton Court Palace, especially the King’s Apartments, west of London.The restoration cost $25 million and took six years to complete (severelydamaged during a fire in 1986). The focus of the restoration marks the 500^thanniversary of King Henry VIII’s accession to the throne.

What excited me mostwas the restoration of the gardens, and in particular The Chapel Court TudorGarden based on Research into 16^th century privy gardens of the King at Hampton Court and Whitehall Palace. Paintings of the Tudor King at Court (nowon display) not only provides insight into his early years of his reign, butalso inspired the recreation of garden sculptures that fascinate in every senseof the word.

Kyngs Beeste, Yale

16th century privy gardens of the King at Hampton Court

They are the ‘kyngs beestes’, raised high on paintedposts, these brightly coloured, wood carved replicas, recall an earlier Tudorpleasure ground. The garden was designed and developed by the renownedlandscape architect Todd Longstaffe-Gowan. Authentically recreated, it provides insight into the Tudor court gardenstyle of the day, consisting of heraldic beasts, flowerbeds, herbs and splendidexamples of the art of topiary.

Garden styles of the day.

Topiary mentioned above.

Reference material

The beasts were inspired by creaturescaptured in a painting of the King and his family in 1545. Close observation of the landscape seen through arched doorways, captured oneither side of the painted royals, reveal the gardens andits fabulous creatures.

Kyngs Beeste, Leopard.

The magnificent beasts are each perched on a brightlycoloured post in amongst the flowerbeds. They include the lion of England, abull, dragon, falcon, leopard, greyhound and a yale. The ‘Kyngs Beestes’ were masterlycarved in English oak, and then brightly painted to emulate Tudor heraldiccolours of the day.

Two Tudor lion statues believed to be original ‘kyng’s beestes’ have found their rightful place at Hampton Court after manyyears of research after being discovered in the eighties. They traveled withthe owner to France and with renewed interest and recent research, theauthenticity of the pair of statues was confirmed, and their position in thecourt reestablished.

Kyngs Beeste, Falcon.

Kyngs Beeste, Dragon.

  The newly restored gardens also providehistorical insight into the variety of containers, tubs and vases to showcasethe fine collection of tender and exotic plants of Queen Mary II. Based on 17^thcentury prototypes these containers were specially recreated to providevisitors insight into her fabulous collection; unrivaled in England during theTudor era.

Extracts from a masterpiece, the hare with amber eyes - from a ceramic perspective.

2011-06-26T16:25:00.018+02:00

The cover, the hare with amber eyes,
a biography by Edmund De Waal.

Yesterday I spent the entire day rapped up in the warmth and comfort of my bed. Yes it was very cold, it was after all, the first day of the winter recess. Yes, there were many welcoming reasons to get up, get out and pursue more enticing options. What kept me in bed, was a fascinating read, Edmund De Waal’s book, The hare with amber eyes - a hidden inheritance. I was mesmerized by the engrossing narrative, but more importantly was the feeling of synchronicity; fondest memories and associations with my own creative experiences, transcribed in amongst these pages. I therefore share it with you here, in the hope that you will purchase a copy for yourself, to read and enjoy as much as I did.

'A story as durable and elegant as this is a rare pleasure.....Like the netsuke themselves, this book is impossible to put down. You have in your hands a masterpiece'. Frances Wilson - Sunday Times, as cited on the cover of the book, the hare with amber eyes..

Our inexhaustible curiosity.

My students once made me respond to a few questions which in the end defined aspects of my personality. One distinguishing quality or characteristic stood out for me - I had the curiosity of a three year old kid.

De Waal’s curiosity to unravel the memories (history and significance) behind his netsuke collection, is defined as follows in the preface of his multi award winning biography.

‘...........and I am not interested in thin, I want to know what the relationship has been between this wooden object that I am rolling between my fingers - hard and tricky and Japanese - and where it has been. I want to be able to reach to the handle of the door and turn it and feel it open. I want to walk into each room where this object has lived, to feel the volume of space, to know what pictures were on the walls, how the light fell from the windows. And I want to know whose hands it has been in, and what they felt about it - if they thought about it. I want to know what it witnessed’.

Adventures and aloof

I have always been described as being aloof and adventures. The fact that I am one of three children, three sons in fact, the youngest and the creative one and therefore entitled to run free, is also alluded to by De Waal, when he describes the young Charles Ephrussi and himself.

'Charles is free do what he wants. I want to think this is because he was the youngest son and the third son and, as in all good children’s stories, it is always the third son who gets to leave home and go adventuring - pure projection as I am a third son.'

the hare with amber eyes, netsuke, collection
Edmund De Waal, as cited on his website.

Defining our obsession with things tactile.

These tactile qualities inherent in netsuke is fully understood to be a key factor in the appreciation of ceramics the world over, and or any other crafts form for that matter - it is a key ingredient in the joy of making. De Waal aptly defines this expressed view as follows,

- all this matters because my job is to make things. How objects get handled, handed on is not just a mildly interesting question for me. It is my question. I have made many, many thousands of pots. ............I can remember the balance of a pot, and how its surface works with its volume. I can read how an edge creates tension or looses it. I can feel it has made at speed or diligence. If it it has warmth. I can see how it works with objects that sit nearby. How it displaces part of the world around it. ...........But some objects do seem to retain the pulse of their making. This pulse intrigues me. There is a breath of hesitancy before touching, a strange moment. If I choose to pick up this small white cup with its single chip near the handle, will it figure in my life?

Netsuke, rats. collection De Waal
as cited on his website.

Our intrigue with Japonisme

This book brought back fondest memories of countless visits to Musée Guimet in Paris (during my three months stay at the Cité Internationale des Arts). The Japanese collection alone amounts to 11000 works. Being a Fine Artist my intrigue with artefacts, des Arts Décoratifs and everything oriental started here. Just as it did then for Charles and Louise Ephrussi (first owner of De Waal’s Netsuke collection - late 19 century) including Emile Guimet. They were ‘neo- Japonistes.

Japanese art was a brave new world during the late nineteen century. De Waal states that

“.........it introduced new textures, new ways of feeling things........This was an epiphany of new material: bronzes of a depth of patina that seemed far greater than those of the Renaissance; lacquers of an unequalled depth and darkness; folding screens of gold leaf to bisect a room, throw light. ....An there were objects that were unlike anything else seen in Western art, objects that could only be described as ‘playthings’, small carvings of animals and beggars called ‘netsuke’ that you could roll in your hands”. to view the collection follow the link above - netsuke.

the cardinal and the queer.
collection artist, Hon 2009.

Christ, netsuke,
Musee Guimet.
see details below.

Objects made for digressive conversation, made for distraction.

My ceramic sculptures / ornaments have always been imbued with an alluring tactile quality and a variety of decorative surfaces to draw-in the gaze of the viewer, to exercise the power of fascination and lower certain defenses. The eye isolates and follows the decorative patterns and textures of the design (tattooed rats) before seduction subsides and the symbolism provokes the viewer to respond and engage the underlining meaning (often confrontational).

Netsuke image above, Christ on the cross, Edo period, 17 - 18 century.

The persecution of Christians after the decree banning Christianity in Japan in 1613, contributed to the use of “hidden” objects such as this netsuke, which enabled the continuing dissemination of Christian artistic themes. as cited at Musee Guimet website.

De Waal describes his inherited collection of netsuke as perfect for the life of Charles and Louise’s salon during the late nineteen century in Paris.

The golden Louise opening up her vitrine of Japanese things, fishing, handing things out to be looked at and handled, to be caressed, shows that Japanese things are made for digressive conversation, made for distraction. These netsuke add something very particular to Charles’s way of living, I think. They are the first things that have connection to everyday life, even an exotic everyday life. They are wonderful and highly sensual, of course, but they are not princely like his Medici bed or his Marie Antoinette lacquers. they are for touching. Above all, they make you laugh in many different ways. They are witty and ribald and slyly comic.

Indigenous designs South Africa; isitayela esisha /new style

2011-06-16T17:40:00.002+02:00

Various spoon design option (conventions) realised in Rhino

by Keith Henning (Industrial Designer).

A few months ago I did a blog entry titled Hon's Ultimate coffee experience. It featured products I designed, including one of my espresso coffee cups and one or two of my spoons. However I never provided the context and or the design development of the various products. This entry and future posts provide insight into my design ideas and concepts (project proposals); the various prototypes and creative drawings, including CAD renderings and manufacturing options.

Cup and saucer design with spoon -
inspired by a Zulu indigenous design.

Background/History

A number of factors led to the design development of the product proposals. In 2002 I was made design coordinator for an R&D project linked to the beneficiation of local precious metals, sponsored by DACST (SA’s Department of Arts, Culture, Science and Technology). The Hollow Gold Project, an Innovation funded program, introduced me to Jewellery Design and Manufacture. The idea behind it, without going into too much detail, was to focus on Indigenous knowledge and hospitality rituals in the context of design and development. We worked with Italian Designers in the development of new and applied Jewellery manufacturing technology, associated with the research-funded program (a consortium made up of representatives from the University, Government and a cutting edge technology based company).

Cup design with various handles inspired by headrests

including spoons inspired by a Zulu indigenous design.

Being the co-founder of South Africa’s Crafts Council, I had the opportunity to coordinate one of our major national Craft Competitions for a number of years - the FNB Vita Crafts Now Competition. I also served on the committee of the Johannesburg Art Gallery. The committee was ultimately responsible for developing and maintaining its permanent collections; purchasing art and craft on a national level. These projects amongst others provided me with an opportunity to keep abreast with the development of crafts, rural and urban on a national level.

Zulu spoon handle Detail (wood) - crafts person unknown.
Reference for contemporary design development.

The joint activities also provided insight into historically significant craftworks within the context of a redress of South Africa’s Cultural Heritage – the post colonial/apartheid era (New South Africa). It is important to note that due to the apartheid homeland policy, indigenous crafts people produced work mainly for local consumption – community based, specific to their regions (homelands). Local and international tourists therefore very rarely ventured into these regions.

Manufactured equivalent of Zulu spoon - handle (Detail)

Craft development remained authentic in the true sense of the word, as artifacts were made for purpose, within the context of rural hospitality rituals – untouched by collectors and tourist’s demands and preferences. Local museums therefore had to extend their collection to incorporate indigenous crafts, to be more representative of our diverse cultures. Various academics and collectors worked closely with companies and banks to sponsor the purchasing of major international collections, to boost the redress program.

Bowl design of spoon (detail)

Fine examples of
Indigenous Zulu
Spoons.

Funding was and has become an even greater problem, as the artifacts become almost priceless and available resources far a few between. Wits University was particularly active on the JAG committee, due to their credible research record and accomplished academic team and more importantly their close partners with Standard bank. Individuals like Anitra Nettleton, Karel Nel and the late Alan Crump in association with Christopher Till, the director of JAG, made significant contributions on many levels. Their research contributions and subsequent exhibitions like Art and Ambiguity was the beginning of a new era. Karel Nel’s knowledge, dedication and personal commitment to the preservation of our indigenous cultural heritage on home soil has found favour with major sponsors and funding institutions ensuring timeous interventions.

Various sizes designed based on function.
Various design style options - location of detail.

At the time I was dean of the Faculty of Art, Design and Architecture and therefore one of the Directors of BusiTech, a company setup to generate valuable income for the tertiary academic institution. Two deans, as part of training and development, were selected to attend an executive development programme as offered at the University of Stellenbosch. This meant the submission of assignments for the various subjects (Strategic, Marketing and Finance to mention a few) one such assignment I submitted was specific to IT.

Design Styles incorporating spoon design conventions
Manufacturing options also included plastic (basalt black)

The project I proposed (innovative ways to utilize IT in a business environment) focused on the scanning of all Artifacts in JAG Collection. Due to limited space these products are in storage (security was also a major factor). There was a need to scan the products for record purposes; spinoffs would be marketing and communication products (mainly educational). The end products would include three-dimensional visual documentation of the products on an in-house database (website access in the future), available to visitors to the museums (access to the entire collection). DVD’s could be sold and or made available to key stakeholders especially schools, academics (for research purposes) and mainly researchers.

Espresso cup and spoons.
photographs above and below - Angus Cambell
Industrial Designer and academic UJ.

a national Identity of local Crafts – historically significant archetypes

This brings me to an important point; very few individuals at the time had a comprehensive knowledge and understanding of a national identity of local crafts. The international tourists had no reference to spot a local craft product, let alone make an informed decision when purchasing a South African indigenous craft product. Local flea markets were flooded with products from neighboring countries as far up the continent as Nigeria. Due to sanctions and the cultural boycott (during apartheid) the production of local crafts remained underdeveloped and mainly for local consumption on a regional scale – mainly batch production, a small number per month. The past ten years has seen crafts skills focused on one-of-a kind-ware to ensure the value remains significant in terms of demand. To speak of production then and now is wrought with all sorts of problems. It is in this context that I proposed the project and business proposition to the University and Gallery.

Books such as The Art of Southeast Africa written by Sandra Klopper and Karl Nel published in 2002 addressed many of these issues, but more importantly showcased the incredible design skills and style of master crafts-people in this region. It once again inspired me to design and manufacture products based on work in our collections (cultural heritage), refined and restyled for contemporary use – meeting present lifestyles and consumer demands. Various individuals at the time accused me of plagiarism and copying. What they did not know and understand that it was part of a greater incentive that was of mutual benefit to the cash strapped museums and galleries.

Even the exploited crafts people based in rural areas, far out of reach of their markets and unable to batch produce their products would have benefited from the program. They would have had access to viable manufacturing techniques and processes, and to tap into the expanding local and international tourist markets (gallery-shops based at museums) we would create for them. This idea first came to me when I spent time in Paris at the Cite. The PEI Glass pyramid extensions of the Louvre included shops selling perfect reproductions of work in their collections, generating valuable income for the museums, whilst imprinting on the minds of the tourist the memory of the artifact on display in the museum.

The business concept and idea behind the designed products were.

Snuff Kerrie as cited in the art of southeast Africa page 102

The Brand / Name.

isitayela esisha (new style)

Dictionary explanation English – Zulu / Zulu English

Style (stail) 1. n. (i) (instr.for / writing)

Insimbi yokuloba. (ii) (mode0 indlela,

U(lu)hlobo, umkhuba (2), inhlobo*isitayela;

s. dress : umbinco (2) old style – isitayela esidala;

new style – isitayela esisha.

Stylish (‘stailif) a – ngumkhuba omusha, -

Nobugwili, * isitayela, - ntalayo.

Snuff spoons, Nothern Nguni/Zulu as cited
in the art of southeast Africa page 147.

The Design Vision

The development of African designed products; referencing indigenous artefacts and hospitality rituals seen in the context of contemporary lifestyle concepts.

The development, manufacturing, packaging and marketing of a range of products appropriating the designs of indigenous artefacts. The original artefacts referenced, form part of major Art Gallery and Museum collections including the Brenthurst Collection of Southern African Art, on loan to the Johannesburg Art Gallery (JAG). These collections are of major cultural historical significance.

Objects that have over time been removed from their original context, because of the working of certain historical factors, were rescued and they have become” treasures saved from a destructive history, relics of a vanishing world…objects to be kept, remembered, and treasured” (Clifford 1988: 231).

Staffs Nguni as cited in the
art of southeast Africa page 142.

Objectives.

The artefacts are selected for direct reproduction and or refined as contemporary designs for local and international export markets. They are mainly sold through gallery and museum shops. Each and every piece chosen has “its roots in cultural contexts in which art was congruent with life, and in which artistry was integrated with utility”(Davidson 1991: 18).

The research based, income-generating venture was therefore to reaffirm by means of innovative mechanisms (the design, labeling and packaging) the recontextualisation of the chosen artefact. Indigenous knowledge and cultural information is disseminated by means of these appropriated indigenous artefacts.

ceramic installation with projected animation; and the ship sails on

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ceramics, projected animation, and the ship sails on.

The animation is on a loop and ultimately starts in brightness, the projectors light bearing down on four light absorbing three dimensional decoy-ducks, strategically placed in their spot, on a carefully constructed oval shaped base. The projected light echoes the shape of the support structure, it does so due to an ellipse constructed stencil, attached to the projector - bolted to the ceiling.

First stage of the animation; projected ballpoint pen
drawings of the water. Reference the moon flask.

The first images to make its appearance, is the blue ballpoint pen drawings simulating water (inspired by the water in the moon flask), animated in different sizes and hues, creating depth in the projected surface, forming the backdrop at the start of the animation. The animated water moves from left to right, creating an illusion of the ducks swimming in the water.

Second stage ballpoint pen drawings (top view) of decoy duck
projected onto the three dimensional forms of the slip cast ducks

Fading in and projected onto two of the decoy-ducks are the top view ballpoint pen drawings of the ducks (image of the left - detail), encapsulating their three-dimensional forms, reiterating the handmade process that preceded their existence on the plinth. A luminous blue is projected onto the two remaining decoy-ducks, creating an interesting composition of various animated surface options; a celebration of their three dimensional forms. These are strong voluptuous modernist forms, inspired by my mentor’s stylized conventions, stripped of all decoration – then considered a crime.

Then suddenly the animated cobalt-blue five-clawed dragon, makes its appearance, moving through the layered images reminiscent of water. He is very large, creating interesting negative spaces as he sweeps his claws over the ceramic decoy-duck installation, bringing forth change (a creature of the sea –power over the elements and seasons).

He is the cultural symbol of China, but more importantly he enjoys historic significance in our world of clay. He is as powerful today as he was when he made his appearance on the moonflask painted centuries ago (the reference for this work). This is a celebration of the handmade, closely associated with the crafts, the beauty it brings and offers to those that value the joy of making.

The five clawed dragon sweeps across the decoy-duck installation, effortlessly moving over the three –dimensional forms, his spirit imbues each decoy-duck with the joys of spring, sprays of peonys in a variety of colours, pink, red and blue. Peonys in a variety of colours envelope each of the four luminous, sunlit yellow decoy-ducks. These flowers are symbols of riches and honour. Beauty is bestowed upon all whom his spirit touches; they radiate warmth, the abundance and joy of spring –as they enter a reinvented “Arcadia”.

Setting up the ceramic installation with projected animation; the finishing touches.

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Sebastian an industrial designer
created the base.

The past four days were spent setting up the installation. Creating the base for the slip cast ceramic decoy-ducks, it also serves as the backdrop for the projected animation. An oval/ellipse that defies the normal shape of projected images. There are so many factors that come into play, too many too mention here right now. The gallery has many windows, and we therefore had to create an enclosed darkened environment, with curtains doing the job.

The projection is always at an angle and this makes the registration incredibly difficult. The animator had to sit on site and draw the actual decoy-ducks as they are situated on the base. Two projectors are really needed, one on each side of the installation, and or one directly above, with the projectors bulb fitted to direct its projection at a ninety degree angle.

Hopefully I can work with Dell to alter the internal structure of the projector, to supply me with a projector that can be mounted directly above the installation and project straight down on the work. So many lessons to be learnt, but Rome was not built in one day.

decoy-ducks taking valuable timeout, watching TV,
at the neighbour's installation.

It has been a painstaking effort to get everything ready for tomorrow night. The animator, Lukasz Pater (of the University of Johannesburg Multi Media Department) to go back to the drawing board a number of times, just as I have had to. I had to redraw the water and the drawing of the top-view of the decoy-duck. Getting the projection and the decoy-duck ceramic installation aligned has been the greatest challenge.

Sebastian creating the stencil for the shape of the projection.

However to get the projection to take the shape of the base, an ellipse, was equally a difficult task. I had to employ an Industrial Designer, Sebastian to setup the installation. He is seen here (image above), creating the complex plastic structure to counter the rectangle light of the projection, to fit the oval base and shape of the animation. Hopefully the projection will retain its shape, every slight movement of the projector, and or change of the computer, and or software, changes the shape and the colour of the projection.
I will take some images of the finished work and the exhibition opening and post them shortly.

Ceramic Installation with Projected Animation Exhibition Details

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Five Clawed Dragon - Ceramic Installation with Projected animation,
titled and the ship sails on.
Image by Lukasz Pater

PRESS RELEASE

Collaborations/Articulations Exhibition, Faculty of Art, Design and Architecture, University of Johannesburg.

Official Opening Function

Monday, 09 May 2011, 18h00 for 18h30,

Opening for viewing: Weekdays from 09:00 – 16:00 from 5 to 24 May 2011

Venue: FADA Gallery, University of Johannesburg Bunting Road Campus, Auckland Park.

The FADA Collaborations/Articulations Exhibition, curated and initiated by artist and writer Brenden Gray, presents new works and collaborative projects instigated by creative practitioners in the Faculty of Art, Design and Architecture (FADA), University of Johannesburg. The works presented on the show have been generated through an intensive process of dialogue between individual FADA practitioners and their selected collaborators over a period of a year. Nine exciting, new projects will be presented:

‘The Underground, the Surface and Edges’: A Hauntology of Johannesburg

Curators, researchers, artists and arts writers Leora Farber and Anthea Buys

Unit for Measure III

Art critic Mary Corrigall, performance and installation artist Bronwyn Lace and installation artist Vaughn Sadie

Love me as I am

Artists Shonisani Maphangwa, Mphopho Rangoato and filmmaker Thenjiwe Nkosi

The Ship Sails On

Ceramicist Eugene Hön working with Lukasz Pater of the UJ Multimedia department)

Design development of projected animation.

Spring-Cleaning: Death in Varanasi

Performance artist Myer Taub, photographer and video artist Nadine Hutton, and film-maker and writer John Trengove

Great Dodecahedron Stellation

Sculptor Gordon Froud and Professor Emeritus Jos Lurie

A Study of the Vulnerable: Gyps coprotheres (Cape Vulture)
Artist Rosalind Cleaver and The Ditsong Museum of Natural History, Bird Collection

Secret/Wish

Artists Landi Raubenheimer and Paul Cooper

Paper collaborations/articulations with the Phumani Archive Mill
Phumani Archive Mill: Kim Berman, Mandy Coppes, Nkosinathi Ndlandla, Thamsanqa Tshabalala, Dumisani Dlamini. artist and writer Brenden Gray, painter Inge Hyson, author-designer Deirdre Pretorius information designer, Sidhika Sooklal.

As a whole, the 2011 Collaborations/Articulations project explores the “articulating potentials of collaboration” and the capacity of cross-disciplinary work to generate new forms of practice and reflection. The exhibition demonstrates how creative practices can speak to and with other practices in the social world and how collaborative creative practices can generate new knowledge. Visitors can expect to see a variety of manifestations of hybrid works including video, sculpture, installation, performance, paper-based works, drawing and site-specific work. The exhibition also includes open-ended textual contributions by the featured practitioners that visitors can read in engaging with their respective works.

Please join us for the opening function of the FADA 2011 Collaborations/Articulations exhibition at the FADA Gallery, Faculty of Art, Design and Architecture, University of Johannesburg Bunting Road Campus on Monday 9 May 2011 for the opening function programme.

Opening function programme:

18h30: An opening address by artist, educator and researcher David Andrew, Head of the Visual Arts Division, Wits School of the Arts.

18h45: The launch of Landi Raubenheimer and Paul Cooper’s Secret/Wish.

19h00: The launch of the eagerly awaited edited volume, ‘On Making: Integrating Approaches to Practice-Led Research (edited by Leora Farber)

19h45: A once-off screening of Anthea Buys and Leora Farber’s curated video programme, ‘The Underground, the Surface and Edges: a Hauntology of Johannesburg’. School of Hospitality and Tourism.

Ballpoint pen drawings of water for the projected animation titled, and the ship sails on.

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Ballpoint pen renderings of Water and decoy ducks -
image and layout created by animator Lukasz Pater.

Water renderings, pattern option two

Water rendering, option one

I have had to go back to the drawing board, redrawing the water, making up the major part of the projected animation. The water renderings are too complex (busy) conflicting with the dragon . The animated five-clawed dragon will be projected moving amongst the three-dimensional decoy-ducks, stretching out his limbs and with his claws he will bring forth positive change.

Water renderings, pattern option one

Water rendering option two

I had to render water for the second animation titled woe-man. It was very simple and I could use it again. But I wanted this animation to be fresh and closely associated to the reference material. The moon flask as depicted below. We are also trying to keep it simple ensuring the animated image integrates well with the form and the shape of the decoy ducks, and of course the shape and size of the wooden base.

High definition projectors make a big difference

We need enough open, uncluttered space in between the decoy-ducks for the animated dragon to move freely and be visible in the renderings of the water, without creating confusion. Striking a balance is of the essence. I therefore had to spend two afternoons exploring new creative possibilities to render the water. The second set of drawings were equally complex and I decided to refer back to the original reference, the water as depicted in the surface decoration of the inspirational moon flask.

Inspirational moonflask

Water rendering option three

In the end I took inspiration from the simple yet appropriate cobalt painted decoration that covers the background of the moonflask shown here (image on the left). The chosen image, rendered in ball-point pen, a more three dimensional approach, provides us with an opportunity to have open spaces though which the dragon can move and be easily visible without creating confusion or making the visual representation to complex (busy) as mentioned before.

Water renderings, pattern option three

Water renderings, pattern option final

Registration of the projected animation

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Checking the registration of the projection at the start of the installation.

It is vital to plan the size of the installation, matching the ceramic installation with the envisaged projected animation. I need to design and construct a base for the ceramics to be displayed on. It has to be the right height to achieve a balance between the size of the decoy ducks and the images in the animation.

Not too low, making it impossible for the viewer to really appreciate and engage the sculptural form and shape of the decoy ducks. It also cant be too high as the size of the decoy ducks determines the maximum height one can go with the projector. The drawings will not fit the actual ceramic work if the distance between the installation and the projector is not sufficient. I also need to determine how many of the decoy ducks could fit into the oval shape of the anticipated projection. Aligning all these aspects is vital to the success of the entire statement.

I have painted the decoy-ducks a semi-sheen acrylic white paint to ensure that the projection is clear and all the detail is captured on the works. The entire installation will be in a darkened space of the gallery. I am in the process of obtaining a high definition projector to ensure maximum clarity of the projected animation It is one week to complete the entire installation.

The exhibition opens on Monday the 9^th of May. Not much time left to get everything finalized. Next Thursday everything has to be completed. I have slip cast all the decoy-ducks. Some of the decoy-ducks are being fired and assembled whilst others are drying.

Slip-casting the decoy-duck; step-by-step

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There is probably nothing as rewarding as removing a slip-cast product from the mould for the first time. All your hard work, finishing off the prototype, and refining all the detail, is revealed in the cast. It is always a magical experience, especially for students who are introduced to the process for the first time. The modeling of the prototype and the making of the moulds is a daunting task for most. But the rewards are manifold, especially when the process runs smoothly; when the split lines were done correctly, and one has established the procedure (sequence) for removing the various pieces of the mould, so as not to damage the fragile slip-cast product.

Preparing the mould

This is arguably the most important aspect of the slip-casting process. Ensuring the pieces are secured tightly. I normally make use of rubber tire inner tubes, cut into strips. However, for larger moulds they are often not strong enough, and for the first time today, I made use of large cable ties. I joined a number of them together to be able to go round the mould.

The slip can burst through the gaps (see image on left) where the various mould pieces join up. It is therefore critical that all the pieces are secured properly and tight enough to hold shape when the excess slip is poured out. More about that further down the blog post.

Pouring in the slip – slip cast process.

Your moulds have to be dry. The water is being absorbed from the slip right up against the mould. The process takes about 15 – 20 minutes. Under normal circumstances, the slip build-up (thickness of the slip) should be about 10mm after the fifteen – twenty minutes.

I make use of a timer as one inevitably forget. It also allows one to get on with other work whilst the process unfolds. When casting a fresh batch of mixed slip, it is necessary to test the build-up of slip in the pouring-spout. By blowing at the edge of the pouring spout, one can see the slip thickness (build-up) clearly.

When using an old batch of slip make sure to sieve it first. This is necessary to remove dry bits of slip that fell into the bucket when emptying out the slip during the slip casting process (see image on the left). Once the desired thickness is achieved, in this case I left it longer - the moulds were not that dry yet and because the piece was lager than most products I have cast. The product is therefore slightly thicker.

Pouring out the slip

Pouring the slip out can be a tricky business especially when the moulds are big and heavy and needs careful planning. I cast on a chair to be in a position to bend the mould over with a vessel on the floor, next to the chair, for the excess slip being poured out, to be poured into. Once the excess slip is poured out, it is much easier to pick the mould up and swirl it around as one waits for the slip to pour out. This process ensures that the slip is evenly poured out of the mould. One has to leave the mould standing upside down for all the slip to drain out of the mould. Leave the mould at an angle. Make use of a wooden stick placed on one side of the mould – to ensure the pouring-spout is raised from the floor. It will stick to the surface and create problems when lifting the mould.

Releasing the slip-cast product from the moulds.

After twenty minutes I turn the mould the right side up and cut the pouring spout out. I then remove the pouring-spout mould to speed-up the drying process. After an hour one can start the tricky process of removing the rather thick moulds from the fragile slip-cast product.

Take care to work out which parts of the mould should be removed first, leaving the product to dry further until it is dry enough and strong enough to support itself and be removed in its entirety. The slip cast product starts to shrink and one must not leave it too long in the dry moulds. Often the first slip-cast product (from a new mould) can stick to the mould. This leads to the first cast being rejected. I was lucky this time, everything went smoothly.

Fettling the slip cast product.

Once the slip-cast product is dry and strong enough, one can start the fettling process, getting rid of the slip-cast seams caused by the gaps in the split-moulds. Only then can one begin to refine the rather fragile form and define the detail if and where necessary. Often edges break in the mould, when removing the solid prototype. As a result it becomes necessary to remove the excess slip build-up.

Slip dries quickly and working fast is necessary. I prefer to finish-off the product before it dries completely. Working on a dry slip-cast product is dangerous, the dust being a health and safety issue.

Further more, the product is very fragile when dry, and sponging the product at the leather-hard stage has the advantage therefore, of repairing any damage caused during the removal of the fragile slip-cast product from the mould.

Decoy-duck the moulds

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Moulds for the decoy duck

The next stage is mould-making.

This is a complex process, especially when you intend to slip cast the products instead of press-moulding. For a detailed and visual account of my mould making technique - follow the link. Slip-cast moulds are very different, because the thickness of the mould assists the slip-casting process. The dry moulds absorbing the water out of the slip. The moulds therefore have to be thicker than moulds for press-moulding, and more importantly, you need to ensure that most of the detail is captured in the mould. The thickness of the mould (in large sculptures) make the moulds very heavy, and separating the multiple piece moulds during the slip-cast process, to remove the fragile slip product, can be tricky. Splitting a complex prototype such as the decoy-duck into various pieces requires experience. Various options should be considered to ensure less split lines, taking into account the best option to release the prototype from the mould and more importantly safeguarding the release of the fragile slip cast product. Press-moulding moulds are normally much thinner and reserved for sculptures that are much larger and as mentioned in a previous blog post, you don’t require as much detail at the prototype stage.

Prototype within the mould.

These moulds were made for me by one of my students, Kenny Sonono, he successfully completed a B Tech in Ceramic Design in 2009 and graduated last year. I was under pressure to get the moulds done a.s.a.p. as the animator is starting the development of the projected animation next week. The moulds will have to be quick dried in the kiln over the next two to three days, set on soak at 40 degrees Celsius (max 55 degrees Celsius).

Close-up of decoy-duck torso in the mould.

Step by step modelling of my prototypes (Y2 Clay) Part two; the Decoy-duck

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Prototype mould ready

The final stages in developing the prototype.

Day 4-7.

I always work frantically to get the general form and shape resolved, to a point where I am satisfied with the visual end result, beyond chaos if you like (take control and in control). I am generally impatient until the form and shape reaches the stage that I know I am on the right track and achieving the envisaged end result.

The next stage is time consuming and demands full concentration to ensure the forms and shapes are symmetrical and then only can the smoothing process begin. Never be impatient to the point that you compromise, this leads to reshaping and frustration. This next stage involves refining the forms and shapes using plaster carving tools to achieve the desired effect. I also make use of scrapping tools as indicated below.

This part of the process is very tedious, but I take delight in refining the forms and defining every detail. It is very rewarding – each step is moving closer to the drawings and the completion of the final prototype.

There is nothing more satisfying than seeing the first product released from the mould. The reward is just magic. Drawing, modeling and casting the mould is a very time consuming process, but slip casting and releasing the product from the mould makes it all worthwhile. Every hour a new product makes it appearance without any effort. No pain no gain.

Carving the base.

The base.

Before defining the detail, it is best to resolve the base, especially for slip casting and when working within the framework of an ornament. This is normally a scale matter, such as a centerpiece that can easily be moved around, picked up and handled (see the bottom). Slip casting makes the piece light and can easily be turned upside down and be inspected. This is not the case with a freestanding press-moulded ceramic sculptures or larger scaled pieces that are permanently displayed on a base in a given space and or place.

Know the manufacturing process when developing the prototype.

Prototypes for slip casting or press-moulding.

It can be very satisfying to see the final product take shape and see the two-dimensional image transform into a three dimensional object, complete with a refined base. This is particularly necessary when slip casting the final piece.

Every detail will be captured in the slip cast process and it is therefore necessary that the prototype be as close to the final drawing as is possible. There is no chance of reworking the form and or shape of the cast product. Press-moulding is the complete opposite and the prototype therefore requires far less refinement in terms of the forms and shapes. Detail is often lost in press-moulding and therefore best applied afterwards, to the sculpture directly. It provides far greater flexibility in terms of adding and altering the forms and shapes.

Develop prototype at eye level and on a turning table

It is very necessary to have the prototype at eye level and being able to swivel/rotate the prototype while working on the forms and shapes, especially when the piece incorporates stylization and symmetry. It is even more important when defining the detail in symmetrical prototypes – especially the head of the decoy-duck (the eyes and cheeks etc). It is taxing enough to get the desired effect, but repeating it on both sides is even more demanding. Especially when viewing the piece from all angles.

Heat the two sides to join the prototype

legs side view

Step by step modelling of my prototypes (Y2 Clay) Part One; the Decoy-duck

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prototype at the end of day two - unrefined, form and shape resolved.

Step by step modelling of my prototypes; the Decoy-duck (Day one and two).

This blog entry provides a step by step account of my techniques and methods in modeling a prototype. In this case the symmetrical stylized decoy duck for my next ceramic installation.

First stage. Detailed drawings assist the modeling phase.

Followers of this blog will for the first time see the value of detailed drawings, especially in the case of modelling stylized and symmetrical prototypes. I enlarge the drawings using a photostatting machine; this is done to scale taking into account the manufacturing process, in this case it is to be slip casting and the shrinkage of the slip has to be incorporated (5-6%). For the purpose of the installation with projection, it was necessary to do a side view and top view which came in very handy when doing the modelling. The above image is of the envisaged size of the installation. I fold the paper cut out of the enlarged drawing to get a view of the three-dimensional image to be modeled – to determine the size and scale of the installation. I photostatted the side view drawing in reverse to ensure that I can model the two halves of the torso separately and yet accurately – working on top of the actual enlarged drawings – using clear plastic as a base to protect the drawing while modeling. (Y2 clay does not stick to the plastic – see below).

Modelling with Y2 clay onto enlarged drawings.

Modeling with Y2 Clay.

I make use of Y2-clay to do the modelling. It softens under low heat, and I therefore make use of a number of cheap bed-lamps fitted with 60watt spots to soften the clay. The spots direct the heat onto the supply of clay, ensuring it is pliable for modelling. A number of spots are also directed onto the modeled prototype to ensure the surface can be manipulated. The lamps must not be too close to the supply batch of Y2 clay, as it melts and burns your hands when applying it to the prototype. Removing the light source will ensure the clay hardens and every detail is retained for the mould-making phase. The prototype constructed out of Y2 clay is normally very hard, and building the dividing walls for plaster casting in no way damages the prototype. Multiple moulds can therefor be produced using the same prototype and modeling clay. Besides the advantages mentioned above, the fact that you don’t have to cover the prototype whilst modeling is a huge plus (I modeled my prototypes in ordinary recycled clay- and the clay always had to be kept moist). The other major advantage is the fact that you seldom require an armature, as the Y2 clay is very light.

Second stage.

After modeling the two halves separately, I attach them to form the three-dimensional body/torso of the decoy duck. I then have to review the form and shape to ensure it meets sculptural expectations. In this case it has to be an exact replica of the drawing; a replica in three-dimensions of the two-dimensional renderings. At one point during the animation, to be projected onto the ceramic installation, the drawings of the decoy-duck will be projected onto the actual three-dimensional decoy-ducks (slip cast and fired to 1060). The ceramic decoy ducks therefore have to be exact replicas for the drawings to fit the actual ceramic products. Hence the meticulous process of matching the forms and shapes exactly to the up scaled photostatted drawings.

Third stage (Day two).

I then start to model the bottom of the dress, onto which the legs will be attached – I might have to fire the legs separately and attach it after the firing. The pouring spouts (for slip casting) will therefore be at the openings, where the two parts will be attached with epoxy. I will therefore be able to glaze the entire product. I also hope to slip cast the decoy ducks and develop appropriate surfaces (under glaze decoration and transfers) to exhibit them as individually crafted pieces. I have ordered some Parian casting slip from Valentines Clay in England for this purpose. I am in the process of enquiring about the costs of digital decal printing of the various peony spray ballpoint pen drawings, to be able to apply them to the fired pieces and exhibit and sell them separately as mentioned above.

Ensuring the main form and shape is symmetrical and perfect.

I took a long time to refine the form (image above), reminiscent of a bomb, which I will explain at a later stage. It has to be perfectly symmetrical at this stage, once you start to add the head of the decoy duck and neck etc., it becomes impossible to adjust the central form and shape, especially if it is symmetrical. It therefore has to be perfect at each stage of the modeling phase and or the different stages. As the defining components and elements are added to the main form, the more difficult it becomes to alter and refine the symmetrical form and shape. Any imperfection will have to be ignored and accommodated – it is just not possible to correct your mistakes at this late stage.

Modelling the decoy duck head.

Fourth stage and or phase - Day two afternoon).

Once the main body of the symmetrical form and shape has been achieved, tried and tested, using templates (scaled up photostats of my ballpoint pen drawings- cut up into the various elements), I can start to add the defining components such as the head etc. I start the process in the same way every time – modeling the two halves of the duck’s head using the reverse Photostat process to achieve exact copies of the two dimensional drawings.

Ensuring the head is the right form and shape

These templates have been placed in position to ensure the three-dimensional modeled head of the decoy duck will be the exact size required and enhance the symmetrical aspect of the ceramic piece as demonstrated in the sequential images above and below. I model the head and other attachments roughly and place them in position to ensure the scale is correct, before I embark on refining the forms, adding the detail and texture.

The final phase - modelling the legs and shoes and refining the forms