Exploring The Possibilities Of Ceramics Being An Independent Visual Medium

A very strong dynamic was the influence of Buddhism along with the ongoing and progressive refining of the philosophy behind the art known as Wabi-Sabi.  “Finding beauty in the imperfect and incomplete” is an attempt to capture this philosophy which is the silent message in much of the Japanese painting, architecture, and sculpture.  The simplistic beauty of the art together with the heart of Wabi-Sabi profoundly reflect the culture of the Japanese

All artists are influenced by the culture they are from. Our experiences and the environment in which we were raised shapes us, and thus the works we produce as artists. This essay will discuss, compare and contrast two artists from different cultures, and their ceramic artworks, with a focus on how their cultural background has influenced their art. The artists that will be discussed are Janet Fieldhouse, who is influenced by her Torres Strait Islander heritage and Aboriginal artist Dr. Thancoupie Gloria Fletcher.

The Sikyatki style of Hopi pottery was the introduction of artistic quality to the yellow pottery of the Anasazi period. From 1400-1600 A.D., the Sikyatki Polychrome style was described as "flamboyance of decoration" on the yellow pottery now being made (Bartlett 6). The geometric designs of the Anasazi period were abandoned for the Sikyatki use of life-form designs and nature designs. These included mammals, birds, reptiles, as well as rain clouds, stars, and sun symbols.

After weeks of working I made a total of three pottery pieces, the one that I spent most time on is a clay pot that was made to look like an ancient greece piece of art. They used as grave markers and many other useful things. Back in ancient Greek pottery was divided into four different areas. These areas are for storage and transport vessels, mixing vessels, jugs and cups, vases for oils, perfumes and cosmetics. Many believed that Greek pottery, unlike today's pottery, was only fired once, but that firing had three stages. When firing their art pieces the kiln was heated to around 920-950 °C. They technically decorated their pieces to tell a old story or to represent something, normally people in a darker shaded color. I chose this culture

Kitson was born in Sydney in 1987 and attended the National Art School, Sydney. From there she was offered a artist residency in China which further developed her curiosity in the art of ceramic making and is now where she practices her art making; half her time is spent in Jingdezhen learning

Joy Brown is an internationally known artist. She was born in the United States but grew up in Japan with her medical missionary parents. Then she came back to America for college, graduated from Florida’s Eckerd College and later returned to Japan to learn the ways of pottery. She did an apprenticeship in traditional Japanese wood fire ceramics. Brown has worked with clay and wood firing for over 40 years. And for 18 years she has worked with bronze. She has exhibited in galleries and museums in the United States, Europe, and Asia. In 1998, she co-funded Still-Mountain Center; it’s a nonprofit arts organization that fosters East-West artistic exchange.

Australian ceramics has experienced an exciting evolution over the past 60 years, when ceramics was first offered as a full-time course at RMIT in 1947. At that time, the “high priests” of pottery were Shoji Hamada o f Japan, and Bernard Leach in the UK, who shared similar philosophies and aesthetic values. Leach wrote “The Potters Book” which was to become the ‘bible’, or text of choice for the many tertiary institutes around Australia who were opening up ceramic courses to satisfy the growing demand for training in what was seen to be an alternative career path in Australian arts during the post WWII years.

According to Isaacs, pottery was introduced to Hermannsburg in the late-twentieth century by Victor Jaensch. Jaensch “advised on sourcing local clay, and built a small kiln” and his Arrernte assistants, Nashasson Ungwanaka and Joseph Rontji, “began the tradition of making sculptures from clay” which were painted and sold at craft shops (Isaacs 2000:50). To many western critics and commentators of the time, the works of the original Potters did not appear as ethnographic or distinctively Aboriginal, as it was not like any of the traditional Aboriginal art forms produced at the time. However, today, Hermannsburg pottery produced by the current generation of women is flourishing. The Hermannsburg Potters webpage discusses the unique process by which these iconic sculptured terracotta pots are made. From clay, coils are rolled out and then each coil is a layered and pinched together. As the layers build, the clay is hand sculpted into a desired form. Once the moulding process is complete, the surface is further smoothed and shaped. Once dry, the pots are decorated with a ceramic based material or slips with pigment. Then lastly, the pots are

I visited the Vancouver Art Gallery to view the contemporary art exhibition by Takashi Murakami titled, “The Octopus Eats Its Own Leg”. This show holds more than presenting more than fifty works spanning thirty years of the artist’s career. Upon entering the exhibition, I was greeted by one of Murakami’s more recently completed works – an incredibly large sculptural piece titled “Chakras Open and I Drown Under the Waterfall of Life”, which is a piece made in collaboration with graffiti artists Madsaki and Snipe. It is nearly 20 feet tall and made out of Styrofoam, water-based urethane, wood, iron, and acrylic paint. The layout of the first room directs viewers to climb stairs that lead to the second floor which holds the majority of Murakami’s exhibition, and this allows for a better, more open, view of the first sculptural piece from all angles as well as a view of the colourful designs on the walls leading

Pottery is an ancient form of art created by people as early as 29,000 BC. The Gravettian "Venus" figurines (appendix A) are the earliest discovered ceramic works, dating from 29,000 BC to 25,000 BC (Carr, 2015). Since then ceramics have significantly evolved, and the pots created today can be described as interesting and unique masterpieces. An example of one of these masterpieces is "Sassy Birch" (appendix B), which is a teapot created by Eric Serratella (appendix C). Eric Serritella received primary applied art training from two artist residencies studying with Ah Leon and clay masters in Taiwan, and after 16 years of other work, Serritella transitioned into clay. He specialises in ceramic trompe l'eole and has displayed his work many museums,

I found my home in the ceramics department a little over a year ago after a slightly distressing period of exploration. I was initially won over by the tactile nature of clay but I soon discovered that ceramics encompassed everything I wanted in a medium. I have the freedom to move between art and design and with its virtually endless possibilities of making, the field of ceramics will always keep my curious mind fed.

The Medium: Stonepaste molded under a transparent glaze. The work arts is made of Ceramics-Tiles. The work full of blue colors that in fact my favorite color. Second theing I like it about the work the geometic design , as I question my self how they did such agreat work with having comuteer or all that kind of technology that we have it to day.

Hello everyone I am Sage Amoroso and I was born and raised in Phoenix, Arizona. I originally was going to school for Surgical Technology, but when I got into the program I did not like it. So I switched to what my second option was, Business, which I am on my way to getting an Associate in Business. I plan to transfer to ASU and graduate from there, but I have not decided what I want to do from there. When I started college I took ceramics in a year just to have a fun class, although did not know I would fall in love. I did not stop and I have been doing Ceramics at MCC with Linda Speranza for 5 years now. I won the district art competition where I moved to national, I also have won others around the valley. Although when I am not doing ceramics

Behind every original piece of artwork, there is a creation story that weaves together the purpose of the art piece, the symbolism demonstrated, and the supporting culture that cultivates it. The intricately carved artwork of the Senufo figure is of no exception; each statue evokes not only a sense of appreciation for the statue’s aesthetic appeal but also reveals the veiled nuances of the Senufo culture. Although much of the Senufo Poro culture remains undisclosed to outsiders of the community, this paper will aim to utilize the analysis of the “Figure of Ancient Mother” to provide an original contribution regarding the Poro

My background preparing me for this field experience comes from both academics and previous field experience. In regards to academics, I have done a junior thesis that focuses on the Balearic Islands under the Roman Empire which is the focus of this field school. My thesis examined the ceramic evidence from the city of Sanisera established by the Romans on the Island of Menorca. For the preparation of my junior thesis, I attended a field school that was excavating Sanisera. From this field experience, I was able to get a hands on and in depth education by examining and sorting ceramic sherds found at the site. At the site, I was able to obtain data that I then used for my junior thesis. This experience at the site helped me get a better familiarity with the ceramics I was studying not only for my thesis but for my future goal of working in ceramic analysis.