Out the kiln #2

Updated: Jan 17

Weaved bowl piece fired for final time without any glaze - like that can see the small cracks that formed due to the stress the pieces were under, as well as the imperfections of the joins and connected elements. Also really like that it sits on a slump - not quite collapsed, but unbalanced and 'struggling'. The raw, rough finish also adds to the context of this piece - the broken roles of women in the world and how it will always be harder to achieve anything in comparison to men. I like the pile of broken pieces being displayed both next to and inside the bowl - inside represents how women have to pick up the broken pieces of themselves caused by societal views and 'rules'. Outside almost proudly displays the broken aspects, not hiding or covering them up but confidently saying 'these are the fractured parts of me, broken off from pressure, stress and impossible conditions'.

'Weaved' texture vase - thought the glaze would have much more colour, instead seems transparent but with some red specs throughout. If want a brown colour (as I was aiming for) I would need to add a higher percentage of oxides to the recipe.

I borrowed Anni Albers' book 'Anni Albers: On Designing' from the library to learn more about weaving and in an attempt to become an 'expert', as suggested by Simon's session. last week. As one of the most famous weavers (and arguably the best) in the western world, I saw Anna Albers as an important figure to look at while exploring weaving. I was primarily focusing on her woven textiles pictured in this book, looking at the variety of patterns and shapes she creates. The weave pattern I created on my woven vase pictured above is similar to a piece Albers wove in her time at the Bauhaus, which is also similar to that on the corn dolly, which was the initial inspiration behind my vase texture.

Furthermore, while Albers was studying at the Bauhaus, there was a strong gender bias that limited what the female students could do:

"Female students, for instance, were encouraged to pursue weaving rather than male-dominated mediums like painting, carving, and architecture. Bauhaus founder Walter Gropius encouraged this distinction through his vocal belief that men thought in three dimensions, while women could only handle two." Gotthardt, A., 2017. 10 Forgotten Female Pioneers of the Bauhaus. [online] Artsy. Available at: <https://www.artsy.net/article/artsy-editorial-women-bauhaus-school>.

This reminded me of my research into Mayan women and their relationship with weaving. Although they also experience discrimination and are limited to weaving in ways of contributing to their households economy, it is nonetheless a primary source of income for each family. By selling the clothes and materials made from their weaving, Mayan women contribute greatly to their family wealth. Albers mastery of weaving reminds me of the strive for perfection many Mayan women have in their weaving, although it is viewed as important to produce volume (to sell ) as opposed to purely artistic or technical works as Albers frequently did.

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