creaticeenqcharlottecowan
creative enquiry
charlotte cowan
81 posts
Don't wanna be here? Send us removal request.
Last Seen Blogs
iknowff
I Know
caretaker-of-the-toys-au
Critter Caretaker
angela-gee
Art & Poetry
2000nostalgia44
2000snostalgia
crowingoverthis
Wait... what?
Text
photographic development.
playing around with the components I have at hand- miniature aluminium forms and hand sculptures.
0 notes
Text
x
fragmented vessel sculpture.
Although this did explode in the kiln- I think that the fragmented and broken apart look is representational of the destruction of volcanic eruption to both the land and to life. As well from an archaeological perspective- having the uncertainty that excavated objects are pulled in one piece. I know that I was fearful and uncertain about this making it out in one piece and, of course, it didn’t. But I believe that it has significant conceptual properties that are interesting and relevant thematically and contextually to my work as a whole.
One visual aspect that I really like about these vessels are there visual relationship to the pyroclastic flow that is a result of volcanic eruption - they look like debris clouds- with their bulbousness and texture. Particularly the contour lines and ripples throughout the form that look like channels created by magma
The vessel shape is also representational of the object of destruction. I have always come back to cones, a solid and free standing form that sculpturally connects to me and my work. The cone also connotes notions of warnings, danger and anti-human tendencies (anti-homeless architecture for example, is typically materialised in sharp pointed cones on the ground).
0 notes
Text
x
imagery for small scale vessel- this is definitely my most successful sculpture and I am so happy about the form/shape and red colour that has come out after being in the kiln.
This can be displayed right side up and upside down and this is what i need to think about in preparation of the degree show.
0 notes
Text
display, playing around with my smaller objects to see how they would be best displayed and installed.
0 notes
Text
printmaking comments/
I ran into a lot of problems whilst printmaking that were hard to overcome:
I could not effectively moisten the paper in a way that was even and consistent, the spray bottles were broken and water baths not large enough. I overcame this by using a sponge but this left puddles on the prints that the ink kind of sat in.
Black etching ink ran out, I had to eventually mix with a very small amount of water for it to be spread around the plate.
These issues just made it slightly harder to achieve a level of professionalism in my printmaking which ended up in wasted prints that I will have to manufacture into bleed prints.
0 notes
Text
fired vessels:
Above is initial documentation of my objects and vessels that were bisk fired in the kiln. This includes my smaller vessel and the large one. As seen above, the large vessel did not make it out in one piece. I think this is because the slip cast was so thin and fragile. In the future I will:
Leave the cast to settle for longer (2-3 hours) before siphoning the slip out of the vessel. For this I had only left it for just over an hour.
Make sure the slip is completely dried, the clay I used was still ever so slightly wet and I did that because of time constraints in conjunction with kiln firing schedules.
Saying this, I went into this project with an experimental process and I had very little success in the past with slip casting into sharp sand. The forms that have come out are really thought-provoking, and allow me to install the smaller pieces more creatively and include them in my developmental work.
Visually, the fragments are exciting and contextually fit in with the direction of my project. The fragments appear very archaeological as if they have been retrieved from a dig site. That are also representational of the debris that comes from volcanic eruptions, and I think that the fragmented pieces in some way symbolise the featured
0 notes
Text
printmaking development, as a display for grit. Observing the process and sculpturally developing my printmaking by including the printing substrate.
The digging motions in the sand are purposeful, presenting thematic and contextual processes within the study.
It is noticeable that the grit and the print texture are very similar, and adds depth to the overall look of my prints.
However, I will not install them like this but it is helpful and interesting to view these prints are sculptural and lifelike forms.
0 notes
Text
display for prints: frame.
110 x 70
This piece of equipment is necessary for me to include my large scale embossing/printmaking work.
This is because I want to have it leaning against the wall, if the paper is flimsy it will bend in a way that I didn't intend it to be shown.
This has been made with wood and glue.
frame making and finishing. painted white to hide it slightly from being noticed.
0 notes
Text
display documentation
I am very very excited about my display, as I want to create unifying sensations throughout my installed work and didn't fully comprehend how to bridge the gap between sculpture and print. As I know, my embossings are hard to understand at first glance and it is difficult to see where they connect with my sculptural work.
However, from the very beginning of my projects this year I wanted to focus on process and it is important that the vehicles of my making are evident in the installation. And by creating these casts of my hands (that dug the sand, excavated the vessels, and were the casts for much of my plaster work) to physically hold up my 2dimensional work sits contently with me.
Not only are they visually exciting, but they contextually and thematically fit in. Connecting my experimental printmaking with my experimental castings.
with objects
0 notes
Text
large scale vessel process in images from beginning to end.
This is my final piece after many attempts at exterminating developing previous, smaller vessels. This process is one that I have tried over and over and finally ended up at a point where I was successful and able to lift an object out of the substrate.
pouring the siphoning the slip:
semi-excavating and drying process, which allows air to reach areas throughout the previously concealed vessel.
Overall, I am very happy with how this large vessel came out. I'm happy that it is an entire piece and the shape/form is very interesting. I was fearful that it would be a 'boring' shape... but I think the bulbous end gives it personality and uncovers the uncertainty of what is under the surface of the sand.
0 notes
Text
large scale vessel
sand excavation
This vessel will be a part of my final work/degree show installation. I am happy that the process was as tedious and nerve-wracking as what typical archaeological excavation would be.
I used many tools including a scoop and a brush, as I had to initiatively figure out the best way to extract the vessel without it completely falling apart. This is notable of the fragility of the material, sharing similarities with real-life archaeological processes.
0 notes
Text
large scale vessel
process video 1
siphoning the slip
0 notes
Text
sculputrally developing printmaking
Using my embossings to think about sculpture- creating forms from wetted paper to be free standing. It might make sense to create vessels out of this rather than random shapes.
0 notes
