2. A definition of the
word “narrative” is as
follows: “A tale, a
story or a recital of
facts, especially told in
the first person; a kind
of composition or talk
that confines itself to
these elements.
3. Ceramic Narrative
Since the inanimate can
not verbally speak, we
are left dealing with
pictorial format with
shape, dimension and
an image which can be
associated intimately
with an identifiable
object. The image to be
portrayed must go
beyond a mere
ornamental and
decorative context and
convey a narrative
element.
4. Finding the Visual
Narrative
a psychological phenomenon
involving vague and random
stimuli (often an image or
sound) being perceived as
significant. This is a form of
apophenia called pareodolia.
Common examples:
The Visual- is seeing objects,
animals or faces in the clouds,
the man in the moon, or
moon rabbit.
The Sound- is hearing hidden
messages in recordings played
in reverse, voices from static
or white noise. Distortions in
animal cries or sounds from
the wind
5. Context of finding the Visual
The studio practice use the brains natural make
up to create recognizable objects from the
medium to be worked in. It take point from the
materials surface to guide the work, enhancing
its nature. This allows for the clay to be fully
utilized from its natural state rather then forcing
a character into it. This is similar to the old
masters carving away marble to reveal figure
locked hidden inside of the marble block.
6. Creative Context
Instilling a mood, theme or ideal, is the main
objective of the artwork which is desired to be
created in the studio practice. It is sought to
explore this creative process through a tactile and
narrative context. It will incorporate elements
outside of the ceramic medium to do so. It will rely
on the minds ability to continuously try to make
sense out of overwhelming stream of random
information and stimuli amassed constantly
through daily life. This collection of information is
focused like a lens in the making process to the
production of a final piece.
7. Creating multiple narrative approaches to
artwork will be a conscious approach to the
artwork created. The artwork takes on a
different story depending on how the narrator
wishes to present the work. It can be broken
down into part or in unison as a whole of its
parts.
8. THE NARRATOR
Narrative of all kinds, weather they are
oral or image have the tendency to reflect
the point of view and attitude of the
narrator
9. Observation On The Narrative
In the episode ‘The Blind Banker’, of the
television series ‘Sherlock’, the opening
scene had various examples of Narrative
Art types in my observation. The scene
focused around a curator maintaining a
400 year old oriental teapot. The
narrator describes the story of the
teapots maintenance while giving a
visual account through demonstration.
Although not directly reference the actor
conveys the culture of the Japanese tea
ceremony in her demeanor and narration
pace. The scene further illustrates a
relationship potential between two
characters which hides a foreboding
secret, which will deny this from
flourishing.
(I have embedded the clip within this
slide if you wish to observe it.)
The blind banker – Sherlock
A series based on the Sir Arthur Conan doyle character
Sherlock Holmes
10. In 2005 Gerit Grimm a
had a mix media
installation of her
vision of a
Wonderland. There
are elements of which
I would like to
encapsulate into my
artwork but with a
more subtle themed
applications.
11. To view the piece you had to enter
through a cutout hole in the bottom to
explore all the elements of the piece.
13. Diorama
(1) A three dimensional miniature or life-size scene
in which figures, stuffed wildlife, or other objects
are arranged in a naturalistic setting against a
painted background.
(2) A scene reproduced on cloth transparencies
with various lights shining through the cloth to
produce changes in
(3) a nineteenth-century mobile theatre device, or,
in modern usage, a three-dimensional full-size or
miniature model, sometimes enclosed in a glass
showcase for a museum.
14. By incorporating a mythos into the studio
practice this mythos will be applied to functional
objects such as tiles and other decorative
functional objects. There will be kept a fine line
drawn between painterly and decoration,
keeping this approach from become a twee
craft, room decoration. The tiles will will
incorporate the attributes of a mnemonic device
such as a lukasa memory board.
15. Simultaneous Narrative
A Lusaka, is a mnemonic device
to help with telling a story.
It utilises a simultaneous narrative
which incorporates geometrics
shapes spacing and a knowledge
to translate it.
It is referred to as a memory
board and is decorated with
shapes, etchings specifically
spaced to be interpreted by the
narrator trained in its
interpretation. They at once
illustrations of the Luba political
system, historical chronicles of the
Luba state, and territorial
diagrams of local chiefdom.
16. Mnemonic device
Incorporating the artwork to work as a
mnemonic or memory device is desired within
the studio practice. This is to be applied through
functional objects of tiles, vases and other
utilitarian objects.
17. Sensory osmosis and
assimilation
• I use the brains natural make up
to create recognizable objects
from the medium I work in. I
take point from the materials
surface to guide my work,
enhancing its nature and
character. This allows for the
clay to be fully utilized from its
natural state rather then forcing
a characteristic into it. A strong
influence drawing out a
character from clay is
unconscious processing of
information through assimilation
and osmosis.
A gradual often
unconscious process of
assimilation or
absorption.
E.g.. Learning French
by osmosis while
residing in France for
fifteen years.
18. SYNTHESIS
The separate elements or substances to form a
coherent whole.
Within the studio practice there is an approach
to make a connection to various material to
elaborate and reinforce the narrative process.
The relationship between the material will give
dimension to the story in a symbiotic nature.
19. fauvism
A movement in painting began in the early 20th
century in France by a group of artists and
makers. It used the bold and frequent use of
distorted forms and vibrant colour.
20. Fauvism
The father of Fauvism was Henri
Matisse who was attracted to the
sensuality of the human form
within his artwork. It played a core
role in his ceramics.
21. Fauvism and the studio practice
There is an approach to adopt a coloration of
glazes to the ceramic surface within the studio
practice. This will be an approach which will be
in coincidence of the application of transfers,
print and surface modification.
22. 20th Century Ceramics
Twentieth century ceramic narrative
have primarily been kept static and
only followed the same commentaries
and symbols that have been applied to
ceramics for thousands of years. The
pots have been a touchstone for
metaphor and messages on utilitarian
objects involved in ritualistic and
celebratory roles. But there started a
new ideal towards the studio practice
giving the message as an important
role as the medium.
23. Robert Arneson
A Californian artist
who with other
artists distanced
themselves from
traditional
manufacture of
functional items and
preferred to use
every day objects to
make confrontational
statements. The new
movement was
dubbed, “Funk Art”.
24. The Funk Movement
A reaction against the non objectivity
of abstract expressionism
expressionism. An antiestablishment
movement that began to paint subject
matter again rather then playing with
the non-figurative abstract forms that
abstract expressionist such as Jackson
Pollock and Mark Rothko were
depicting.
The term came from an abbreviation
of the Jazz term, “funky” as like the
music of the 1920’s the art was
perceived as unrefined and
unsophisticated. In ridicule the term
was also had an negative association
of a foul smelling thing.
25. The Funk Art Movement
The Characteristics and techniques of
Funk Art works were more important
then subject matter. It was a form of
self identification and not bound with
public morality.
26. The Funk Art Movement
The artist created the artwork on a
personal level. They focused on
identifying with the work they created.
They retreating from a focus on a
social agenda and have more of a
focus on Absurdist Art.
27. The Funk Art Movement
The artist were committed to
identifying with the work on a
personal level with out focusing on
social causes and had a stronger focus
on Absurdist Art. Through their art
they demonstrated their personal
feelings, emotion and processes. It
had a close relationship nature rather
then culture.
28. The Funk Art Movement
The artwork reflects the artists
personalities and experiences. The
artwork was often self deprecating,
ironic and humorous they also touched
on more serious topics. The funk art
contained a sense of ambiguity on
account of not having clear meaning to
many of the pieces.
29. Clay is not merely a canvas
Clay is not a basic canvas for an artist. It is a
three dimension application of surface and
form. It is a topography to be mapped out and
explored to elaborate the narrative process.
30. Rudy Autio
Rudy Autio was open to the start of
abstract expressionism. He was
quoted as saying it initiated a new
freedom from the sometimes ridged
discipline of the pottery wheel
enabling him to make the vessels
into fluid and amorphous which
were the basis for his lively studies
of the intertwined human figure.
He was economic with his linear
brushwork applying a painterly
cadence over the undulating outline
of his pots.
31. Joan Miro’
An artists from Catalan with an
intimate hands on feeling for
clay explored primitive surreal
and mythological imagery which
he have his own stamp of
identity.
He gave his work preternatural
iconography which seem to
come organically from the clay.
32. Pablo Picasso
With clay playfully improvised
and combined his abilities as a
painter and sculpture. They
were rich with expressive
glazing which he investigated
the mythological world of his
art.
Within my studio practice I
would like to have a raw
connection with the clay
coloration and subject matter.
33. Alternative Surface
• Firing processes, application of glaze or
manipulation of the base clay material
are various ways to surface a ceramic
piece. This is the the main application
of the narrative onto ceramics.
• Mathew Castle an American artist has
taken the concept of the lavish and
immediate choices of surfaces found
through out glaze books and instantly
seeing the results.
• In this context he has taken 8 slides and
projected them upon a teapot to reflect
this experience.
• Running with this approach the idea of
continuing the narrative process directly
onto a ceramic piece allows for a
diverse and open exploration.
34. conclusion
• There is an adoption of various concepts,
ideals, and artistic styles being predominantly
resourced from the 20th century. These
elements will be put into the context of the
artwork.
