Rain tutorial + Bridget

It was really helpful having a tutorial with Rain as she wasn't familiar with my work, so it was very useful having a fresh set of eyes. This tutorial helped me evaluate the key themes of my work as I explained to Rain what I am trying to achieve with this collection of work.

Goals/aims of this collection:

  • Exploring drawing in a 3D way, using the coils to translate lines and the fluid movement of continuous line drawing into vessel shapes

  • My pots are bodily and, although are not directly made to look like the human form, have a sense of humanity about them. The coils and distorted forms relate to the sagging and wrinkling of skin as we age (or when women have children), and this provides the viewer with a strange sense of reliability and connection to the vessel that may initially be unclear why.

  • Exploring the handmade object - interest in folk art vessels and the traditional making of coil pots for functional objects. Keeping these form shapes and bringing contemporary ideas to ancient techniques. Also, looking at the connection between a maker and their work, keeping fingerprints and the maker's touch visible in the ceramic surface.

  • Gesture and mark making - translating the broad, gestural marks made in my 2D paintings and drawings onto the ceramic surface. Using tools to score, indent and mark my vessel surfaces.

Rain suggested creating a 2D (but 3D) panel of work to support my vessels, using my coiling method on a flat surface. Similar to the work of Clementine-Keith Roach (pictured below). She thinks my ceramic vessels seem resolved and like a completed collection (which was very nice to hear), but I could now use this time to begin something new that will take my work to the next stage. Furthermore, as Rain comes from an architectural background, she suggested it would be interesting to open up my vessel shapes, cutting them open and displaying them like a map. However, as my vessels need to be dry to support themselves, this might not be possible unless I build very small.

Clementine-Keith Roach:

Chat with Bridget:

I raised my question of whether or not to glaze my terracotta works, to which Bridget advised I don't. Because I like them as they are, and the bright orange of the terracotta sells well, they will have a high commercial value. Although the 'neutral, minimalist' finish is not quite my style, the coiling and highly textured surface it has without any glazing still very much is. She said these pieces are likely to sell in an interior design context, and keeping them neutral opens more doors for such work/commissions.

Furthermore, I discussed my pricing with Bridget. She said I am massively undercharging if I want to show in galleries and deliver to the high-end spectrum of the craft market (which I do). Instead of aiming for the boujie London shops (like those in Stoke Newington), Bridget said she saw my work fitting into Kensington interiors and with interior designers designing for wealthy customers.

Things to research:

  • Kensington interiors/shops that my work could be situated in

  • AN website - shows suggested daily rates for artists

  • How much to charge - considering I lose 30% to tax, 50% to gallery etc.

me assess what my work was really about, explaining to Rain the key themes of my work

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