CRP developments

Developing my idea 1 (minimalism vs maximalism)


Kimberley and Bridget's feedback: (food for thought)

  • Is maximalism the same as ornamentation, kitsch, decorative?

  • Research a particular quote about 'plain and natural' from Soetsu Yanagi's book to refer back to and spring off from in the research process

  • find case studies of ceramic vessels (my primary object interest) that range from maximalist to minimalist. How can I analyse these impartially? What will be the criteria for examination?

  • Stephen Bayley's 'Ugly: The Aesthetics of Everything' 2011

  • My interest in identity/heritage/authenticity. How its woven into how we live and what we live with is also a hangover of what we lived with in the past - wrapping some of this information in could develop the idea in one way - for example, Edmund de waal’s discussion of life and objects in hare with amber eyes and letters to camando.

  • Adolf loos on decoration

  • Vessels - find physical examples of the concepts you talk about, both craft/studio pottery and industrial. e.g Grayson Perry decorative work about identities, Betty woodman's illustrative ceramics, Pop dots minimal pots or BeStill Ceramics, Richard batterham's signature look, IKEA versions of studio crafts, Alison Britton's slab building. Consider how they're displayed

  • How has Apple contributed to modern ideas of minimalism to the point of blandness?

  • Metaphor in how we build vessels?


Range of ideas and notes exploring these prompts and further topic developments:

Artist research:

Artists who explore similar themes that I'm interested in, focus on ceramic vessels. Could I use some of these as visual examples in my essay?

Beginning to think how I could compare minimalist and maximalist vessels in an objective and non biased way. Also, as I conduct further research minimalism and maximalism are growing further and further apart, causing me to feel slightly stuck with how to compare the two. Tutorial notes discussing ways of solving this and further ideas.


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