Ceramic sculptor Arthur Gonzalez was trained as a photorealist painter, but grew to dislike the control and predictability of that genre. So it is no surprise that when he discovered ceramics (not exactly known for its predictability!) he became hooked. He explains, “I can instantly materialize a thought and then destroy it if it does not deliver what I need.” This immediacy satisfies a love of exploration. In today’s post, Arthur explains how he approaches his coil-built figurative clay sculpture.
Last summer, Lisa Naples came to town for a marathon week of filming two DVDs. The first one, Flat to Functional, was launched in March, and I am happy to say her much-anticipated Narrative Animal Sculpture, makes its debut today! As both an animal lover and a clay lover (not to mention a big fan of the lovely Lisa Naples), I really enjoyed this video.
For today’s video, I’m sharing a (much condensed) clip in which Lisa demonstrates sculpting a rabbit’s head – but as she points out, the process can be applied to all mammals with special attention paid to the unique features of each one. – Jennifer Harnetty, editor.
Animals have long been used as symbols in storytelling all around the world, and visual artists have been using animal figures in artwork for just as long. In this installment of the Ceramic Arts Daily Presents Video Series, Lisa Naples shares her insights and techniques on sculpting animals in clay to tell stories. She begins with a mixed media project, explaining not only the ins and outs of sculpting convincing mammal forms in clay, but also the technical issues of building clay pieces to successfully mesh with non clay materials. She also explores the process of pairing animal parts with pottery forms, creating a sculptural bird vase. In addition, Lisa shows how to make the figures come alive through her fabulous brush work and dry-brush slip application. Throughout the video, Lisa shares her insights on how to play with ideas and incorporate symbolism and meaning into your work.
Pure white and wonderfully delicate, porcelain is a gorgeous and notoriously challenging clay body. In Masters: Porcelain, you’ll see the incredible work of 40 artists who have mastered the material. Curated by Richard Burkett, this collection expands and challenges traditional perceptions of what the medium can — and should — do. The work shown here represents the great diversity in practice — both technical and aesthetic — that porcelain affords the ceramists who mine its tremendous potential.
In today’s post, Jerilyn explains how she uses double-walled construction to create the beautiful forms shown here. She also shares her firing schedule.
I realized that we were really due for a sculpture post here on CAD, so today I am featuring the work of Christie Brown. This post doesn’t only pertain to sculpture though. Christie’s techniques could easily be adapted for functional work. In today’s post, an excerpt from Ceramics and the Human Figure, Edith Garcia explains Christie’s how Christie makes her molds from Styrofoam models and then press molds and assembles her work.
The malleability of clay makes it possible to bend and shape in into any shape imaginable. But as we all know, this malleability can also present challenges. In today’s post, an excerpt from Sculpting and Handbuilding, Claire Loder gives some sculpting tips and shares a couple of techniques from two ceramic sculptors.- Jennifer Harnetty, editor.
In this book you’ll find sculpting and handbuilding techniques explained with practical instructions and helpful accompanying images. Equipment, clay bodies and studio advice are thoroughly covered. Through the work of today’s ceramic artists, Claire looks at new methods of building by hand, including mixed media, sculptural methods, vessels, and surface decoration.
Support Systems: What it Takes to Make Lightweight Wheel Thrown, Altered, and Assembled Ceramic Sculptures
Making thin, curved walls out of clay requires support throughout the process. In today’s post, Wouter Dam explains how he uses foam swimming pool floats for
support during construction, and customized clay supports to get the pieces through the firing.
Helen Gilmour is interested in the relationships between traditional crafts. So she decided to make traditional pottery forms – like teapots and bowls – that look like they are knitted. The result is a form that at first glance appears soft, but on closer examination has the fired strength of porcelain. In today’s post, Helen explains the process she came up with to make these delicate looking vessels. – Jennifer Harnetty, editor.