Kigbeare Studions Masterclass, Peter Seabridge Throwing, July 2013

Demonstration from Peter Seabridge

Flowing finger marks

Bowl

Platter

Finger grooves

Preparing for feet

Finishing outer edge

Feet added

Voila!

Japanese Masterclass in Ceramics Decoration with Reiko Nagata at Kigbeare Studios, Devon. July 2013

Preparation of ingredients for decoration

Pestle and mortar used to grind finely

Calm and concentration essential

Inspirational

Beginner's straight lines

Japanese-style design?

Kigbeare Kiln

Kiln fodder

Preparation of Sushi

The Group of Participants

Tremough Gardens at Falmouth University, Cornwall

June 21, 2013

The installation prepared for Trelissick Gardens has now been installed at Falmouth University in the gardens of Tremough Campus.

This location has been chosen as it is raised up from the path, in a secluded spot, quite dark, so to my mind is the kind of place you may find spirits lurking!

Commission from the National Trust at Trelissick Gardens, Cornwall

Spirit of the Garden

9 May - 9 June 2013

Trelissick garden is situated in an area of outstanding natural beauty, a gently folding landscape containing oaks, beach, exotics and rare specimens, and leading down to the River Fal.  This assignment was to produce installations that were sympathetic to the surroundings and appropriate for National Trust visitors.

When researching the property, the list of dedicated gardeners reminded me of my own dedicated and gentle gardener Jack from years ago, who died of cancer.  My work is an hommage to gardeners, especially Jack.

Process

Old garden tools were chosen to become spirits of garden tools.  The tools had to be staked into the ground so had metal rods welded to them, before being covered in          hessian fabric dipped in Keramicast plaster.  

An old spade was covered in cling film to prevent the rust  from dis-colouring the plaster.

Wet hessian was cut to size over the spade after metal rods had been welded to it, to go into the ground.

The hessian was then dipped in plaster and was very heavy so needed two people to put in place.

Help from a first year student was much appreciated!

Extra layers of plaster were gradually added all over.

As the plaster is hardening drips form, which need to be removed.

Whilst wet the form was very heavy and difficult to balance at the right angle for the folds in material to fall at the required angle.

A lot of sanding was needed to re-find the folds in  the fabric.

The final piece awaiting installation.

The same treatment was given to a watering can

And also to a garden trowel.

This tool has been likened to the appearance of a coffin.

Final Installation

Artist Statement

 Spirit of the Garden

“The act of ‘gardening’, as well as the activities enjoyed in the garden, contributes to a sense of well-being.  Gardening is dependent not only on the input of the human being but also on the part played by nature.”

Cooper, David E. 2008.  A philosophy of Gardens.

In memory of my gentle, dedicated gardener, Jack.

Raku Firing and Hot Glass at Port Elliot, Cornwall

Resulting Raku fired pot made of crank clay

This workshop took place at Port Elliot in Cornwall, hosted by John Grayson of Plymouth University Contemporary Crafts course, to experience glass blowing, glass sand casting, raku firing and paper kiln building.  Ready prepared pots were glazed on site before being put into the kiln and then into the bucket of sawdust to be surrounded by smoke which gives the blackness to the surface and crackles the glaze.

Kiln used for raku firing

Glazed pots ready for firing

Pots inside the kiln

Detailed surface texture achieved

Resulting Raku fired pot made of crank clay

The glass blowing was enjoyed by some, using a mixture of reclaimed bottles, melted down in the glory hole, producing a slightly  blue tinted glass, which turned darker blue as the quantity of glass in the glory hole lessened.  It was presumed that the blue colour sunk to the bottom.  

Moulton glass was also poured into sand moulds, but these pieces did not spend enough time annealing (cooling down under controlled heat) so all smashed before being cold.

Raku kiln with glory hole behind for hot glass

Plymouth University Student Glass blowing

Glass cast in sand

Paper kiln alight

John Grayson of Plymouth University and students watching the paper kiln float out to sea

Entrapment

Often influenced and inspired by feelings from deep within, this piece is inspired by emotions of despair, submission, control, manipulation and loss of freedom.  

Cast or slumped  glass is delicate, fragile and pure, and allows a form to be seen through its clear body, reflecting light, like the spirit within.

Metal, especially when rusted, has a more masculine appearance, strong, aggressive.   The use of thorns, made of cast metal, add an intimidating aspect.

Placement Workshop with John Pollex

I spent a week with John Pollex learning how he applies coloured slips to his pots.  These are my results.  I find the colours much more vibrant when there is a base layer of black/brown slip, as in the plates.  The slips are added layer upon layer, mostly with  a sponge, and some sgrafito is added taking back to the clay or to a previous layer of colour.