Journal entry by Haemi Jung

'Ancient painted pottery Pot Carrying on the Back' by unknown

One side of the pot is quite flat, flanked by two loops and on the opposite side a vertical nose is found. Through these three loops string a rope, thus making it quite easy to carry on the back. The pot is made of red pottery with fine clay and decorated with various colored pattern.

It looks quite amazing. I did not know that ancient people could make painted pottery. Also, with three little holes they could carry this jar easily.

 

 

Storage Jar with Herakles Attacking a Centaur, Greek, Athens, about 530–520 B.C. The J. Paul Getty Museum

This storage jar is one of my favorite in ths journal. Even though this jar was made long time ago, this jar looks beautiful and amazing. I like the black glaze and the images in the middle of the jar. I am sure about that story but I can see the Kentauros and other people try to harm him. This jar is really nice for decorative jar also storage jar.








 'Storage jar decorated with mountain goats'
This historic storage jar looks normal but the mountain goat looks really nice. I am curious about why people who made this jar drew this image on the jar.

A MARTIN BROTHERS POTTERY JAR WITH COVER . Martin Brothers, London, England, circa 1900
This jar is made about 1900. I really love this jar's lid. It feels like palace of fishes. Image of fishes on the jar looks like real and color is also great. I guess that artist used slips for color. I think that this jar is brilliant work.

all

BLOG ONE- cups
Hailey Potter

The first person I looked at was Tara Wilson and her cups. I like the way her handles are attached because they look almost seamless while still keeping a seam. I really have no idea how to explain it. Other than they look as if they absolutely belong on these particular cups.

Im also interested in sgraffito for integrating my concept into my cups, which lead me to the work of Yoko Sekino-Bove’. Most of her work is very precise but I like these cups a lot because of the way the glaze is running. I believe that the article she has on her work states that these were fired at cone 5 in an electric kiln but were originally meant for cone 10 reduction.

Third I came across Chris Baskin while looking for darted cups. Im not sure if these cups are indeed darted but I like the intentional wonkiness of them. I would like to see if I can dart cups and integrate the technique into my concept.

Deborah Schwartskopf is another really awesome artist I found who uses darting and gives examples of how to do so.

BLOG 2

I decided to look up clay artists that use geometric shapes. I decided this because I love using geometric shapes within my art and throughout my concepts. Reductionism is a concept/ strategy within psychology where you break a system done into increasingly smaller parts in order to understand it.

The first artist I found was Nicholas Bivens who uses geometric shapes to portray perfection within handmade utilitarian object. Just as I see the tension between the idea of perfection and the beauty of art he uses geometry to portray the tension between perfection and hand made objects.

My favorite part about his work is his handles and I want to look into incorporating my handles into my concept.

I am also incredibly intrigued by ken prices geometric cups even though they aren’t thrown. I like this work mostly because of the geometric foundation even though I don’t see it as a user friendly utilitarian object I think the straight edges and hard lines are really cool.

 

BLOG THREE- vessels with lids

Once again Debrah Schwartkopf is an artist that I looked at for this project because I like how her lids sit down almost inside of her vessels. As I continue to make lids I am slowly figuring out how these types of lids work and like them a lot. (Below)

I also looked at Shoji Hamada because I like the shape of his pots even though they are small. Usually I am drawn to the intentionally wonky pieces but there’s something to say for the traditional shape that I like and am drawn to. (Above)

Last since we are getting ready to glaze I have been doing research on different types of glazing techniques the two that have stuck out to me the most are Wood Ash

and Raku.

I like both of these styles because they are so different from the typical glaze. Typical is a strong word… I mean that they are more unpredictable, and that’s the point I love the idea of creating something just to see what will happen, like a happy accident.

They are intentionally wonky which is a theme throughout all my work, along with my concept of being a little wonky in a world that wants everything to fit into a definition.

Jars & Lids Journal Entry by Iling Lai

Mike Jabbur

Porcelain.

Cone 9/10 Reduction.

6” x 6” x 9”

It’s a very interest piece, and the color light green and white match well. I like how it looks simple but have sense of design. I read him statement, and knows that he said “Reveling in the expressive potential of clay’s materiality—its willingness to glisten and stretch, fold and fissure—I draw connections between the ceramic vessel and the human body to sanction a means of understanding, a postern to the familiar. The body is a wonderfully complex structure, limitless in opportunity for investigation from the micro to the macro, the corporeal to the conceptual.  Dynamic movements expressed by the human body also inspire my sense of form; my pots bend and twist, wriggle and dance.  Such gestures further the associative phenomenon regarding our means of understanding.  Concurrently, these gestures—especially dance—recall the human act of celebration.  A metaphorical connection is drawn between colloquial perceptions of human celebration and the metaphysical celebration that occurs when actively engaging in acts of eating and drinking.”

KyoungHwa Oh

Porcelain.

8” x 11” x 11”

These pieces are very amazing! She creates ceramic objects that reflect traditional Korean culture and western contemporary style. And her work consists of functional and sculptural carved porcelain ceramics. It has been strongly influenced by the element of nature such as water, flower, and space. And nature is the unifying subject in her carved porcelain vessels. She use graceful flowing lines to reveal a harmonic balance in her work.  

Michelle Erickson

Virginia (Front).

Earthenware.

18” x 9” x 14”.

This piece is so cool. Her work is based in historical reference technically and conceptually and is narrative in nature dealing with the human experience through a social, political and environmental landscape. And he said “his broad repertoire of authentic reference allows me to recreate in a contemporary context the long historical tradition where ceramic objects are used as tools to instigate social and political change, communicate ideas as well as document the extremity of the human condition.”

Ayumi Horie.

Monkey and Bird Jar.

Earthenware.

8” x 7” x 7”

This piece is so cute that the monkey and bird. All her work revolves around the idea of comfort, both physical and psychological. I read her statement and know that she said “By using material generously and by having a sense of soft gravity in the walls of the pot, I hope to impart a feeling of quietness and contentment. Finger marks and dents are unconcealed and even celebrated, because what could be more comforting than the handmade? I want my pots to be poetic; the sag at the base of a pot may counterpoise a thin, articulated lip or glazed yellow sprinkles around a bird may suggest excitement. I love drawing animals and being engaged in their dramas.”

Lidded Vessels

Ancient Egyptian Canopic Jars and the Four Sons of Horus.

     Canopic jars were stone and ceramic vessels used for the burial of the viscera removed during mummification. Canopic equipment is found in Ptolemaic tombs but stopped being used by the Roman period. The last known royal canopic jars belonged to après        (589-570 BC)

 

 

 

 

 

      This lidded vessel was placed as a cache during a building-dedication ritual. It portrays a deity from the Palenque triad known as GI, whose characteristic features include a central shark's tooth and fish fins. A mythological bird rests on the deity's head.

Cache Urn, Guatemala, AD 250-450Ceramic  

 

     " Elegant long-necked cormorants raising fish from the surface of the water " are a common theme on Early Classic vessels. This particular vessel rests on four naturalistic peccary heads, another aspect of such tetrapods.
Guatemala 250-400Cermaic with slip   

 

          Moche (Mochica) ceramic pot vessels are photographed in the form of a group of five. These seated Moche warriors are from the La Mina site in the Jequetepeque Valley of Northern Peru. The Moche culture began about 200 B.C., lasting to about 1000 A.C. inhabiting the North Coast of Peru. The Moche artists produced the only realistic or naturalistic fine art sculpture visual art in pre-Hispanic or pre-Columbian South America. Much Mochican clay pottery survives, often painted with red and white slip.