70 Photos - May 12, 2011
Photo: "The Great Wave" A multi-layered representation of Hokusai's The Great Wave, using porcelain slip slabs and glaze.Photo: "The Great Wave--oblique" The slabs were purposely warped during drying and firing. The back layer contains paper fibers, which help to keep it flat.Photo: "Labor of Love" Fifteen porcelain slabs had small holes of various sizes pressed into them with brass tubes before firing. Collectively, they form a halftone image of my kids, as shown projected in the background.Photo: "Labor of Love--detail" I placed guidelines in the clay to help align the holes.Photo: On mantel with backlight.Photo: On mantel with backlight.Photo: "Lava" Underglaze layers applied to greenware, scraped off, fired, then clear glazed.Photo: "Lava" Oblique viewPhoto: "Lava" detailPhoto: Leaf
A piece from the third critique of the Spring 2012 semester. Left--bique tiles, hand-applied glaze drops, India ink; right--porcelain, oxide stain, enamel.Photo: "Hexmatch" Another piece from the Spring 2012 critique. Each one of the eighteen tiles are covered with two sets of triplets of glaze colors, each triplet selected from 44 glaze colors to optimally match its partnering triplet. Seven different light sources are used to examine illuminant metamerism. Ideally, each tile should appear as one solid color from a distance, but some match better than others in various illuminants. This work will support color selection in future work. The seven illuminant types are 4700, 4100, and 3500 K broad spectrum daylight reflector lamps (SoLux brand), three varieties of tungsten (standard bulb, halogen reflector, and GE Reveal bulb), and compact fluorescent.Photo: "Hexmatch--detail" One of the eighteen tiles, showing a (red, yellow, blue) triplet and a (green, brown, brown) triplet that match from a distance when the eye mixes the colors additively, as predicted from the close proximity of the centroids of the two triplets in L*a*b* color space. A hexagonal grid is chosen to optimally pack circular drops of glaze. To distinguish the dots from the usual pixels found in a rectangular array, I call each dot here a "trixel" and the grouping of three trixels a "hexel." The effective additive hexel color is what is matched in color space.Photo: "Typewriter" Created in a 2003 ceramics evening class for community members. Graduate student Billy Stroud was the instructor.Photo: "Sixty Kinematic Chains" This porcelain sculpture features diagrams of the sixty unique single-degree-of-freedom kinematic chains with eight links and revolute joints. It is mounted on a brass rod embedded in a ten pound steel gear as a base. One of these sixty kinematic chains is the basis of Theo Jansen's recently popular wind-powered "Strandbeest" beach creatures. These sixty shapes have been the subject of my research at the University of Illinois for five years. Do the other 59 "seeds" produce useful leg mechanisms?Photo: "Sixty Kinematic Chains--detail" The sixty kinematic chains are applied as laser toner decals, which retain the iron oxide after firing. The sixty kite shapes (that form a sixty-faced deltoidal hexecontahedron) are cut from a porcelain slip slab and purposely warped. A special clear glaze was formulated (after 64 tries!) that crazed in just the right way, into which India ink was rubbed to accentuate the cracks.Photo: "Sixty Kinematic Chains--open" The deltoids are attached to two hollow porcelain hemispheres. They were created by first making a plaster mold, and then pouring porcelain slip into it. After an hour or so, the slip was poured out and the hollow shells remained.Photo: "Fractal Tree" In May 2012, I embarked on a project to formulate a clay body that would adhere to previously bisqued ceramic tiles without cracking or delaminating during firing, as well as having a porous surface that would accept India ink after firing. After about 90 experiments, I finally found a suitable candidate. It is layered in this piece to form a representation of one of my Design by Algorithm images. A crackle glaze was applied, the piece was fired, and India ink was added to the remaining porous surfaces.Photo: "Fractal Tree, Top Detail" The crackle glaze echos the fractal nature of the imagery.Photo: "Fractal Tree, Bottom Detail" The porous surface of the clay body gives the India ink a pleasing soft black appearance.Photo: "Acacia Tree" This piece is based on a drawing of an acacia tree that my son, David, sent me while serving in the Peace Corps in Kenya. Mount Kilimanjaro is on the horizon on the left. The clay body used in the previous work is used here again with a crackle glaze on the trunk, gray glaze in the background, and India ink everywhere else.Photo: "Acacia Drawing" This is the drawing David sent.Photo: "Acacia Tree - Oblique" I strived to faithfully represent the gradient of bark on the trunk by using a varying thickness of crackle glaze.Photo: "Acacia Tree - Detail" I enjoy the fractal-like nature of the crackle glaze.Photo: "Starry Night" The new clay body was used again in this interpretation of Starry Night. The clay was applied with a ketchup squirt bottle to emphasize the dynamics of the original. I wrote software to map the colors of the original to the 44 colors of glaze that I had on hand, and applied the glaze with 44 slip trailer bottles.Photo: "Starry Night - Detail" After glazing and firing, India ink was applied and washed off after dry, leaving the exposed bisque tile surfaces black.Photo: "Mood Lamp" Three high power RGB LEDs are placed within the three glass globes. Nine knobs on the back (hidden in this view) allow each globe to have any desired color. The base is porcelain with my specially formulated clear glaze. India ink is rubbed into the glaze cracks.Photo: "Garden of the Gods" Lately, I've been on a tile kick. This tiling of son Adam jumping from rock to rock at the Garden of the Gods was formed by carving variable width grooves in soft clay tiles, and filling the grooves with glazes of various colors. Finally, India ink was applied to the unglazed areas.Photo: "Garden of the Gods - Detail" Closeup of the glaze-filled grooves.Photo: "Land Colors" The next four images depict one work comprising two tilings. They are on opposite walls in a large room. Both pieces use commercial bisqued, unglazed tiles, onto which I applied dots of glaze with a slip trailer bottle.Photo: "Land Colors" Here is a detail view of the first tiling. I wrote a program that forms a hexagonal pattern of colored dots, with every triplet of dots (hexel) having colors selected from the 44 available glaze colors, and collectively, matching the color of the nearest pixel in the original image.Photo: "Land Colors" The eye tiling is viewing this other tiling on the opposite wall (5' x 6' in size). The camera does not pick up the perceived colors very well. It looks more colorful in real life. The greens are greener, purples purpler, and yellows yellower than what is apparent here.Photo: "Land Colors" The surprise is that the whole thing is made of red and white dots on a black background. This phenomenon was first reported by Edwin Land, the inventor of the Poloroid camera. In case you're curious to learn more, google "Edwin Land's interesting accident."Photo: "Tile Exhibit" This is the second class critique of the Spring 2012 semester. I am still into tiles.Photo: "Garden of the Gods" Ninety-six six-inch tiles form this piece. Based on a photo taken at the Garden of the Gods in southern Illinois of my son jumping over boulders. Although not evident in the image, there are tremendous drops between the boulders, which I believe is reflected in his cautious posture.Photo: "Garden of the Gods--Detail" The colors in the tiles are from hand-placed spots of glaze. After firing, India ink is applied over the whole tile, then washed off. It sticks only to the unglazed portions.Photo: "Marcia" A tiling of a portrait of my wife in six six-inch tiles.Photo: "Marcia--Detail" A close view of the portrait. This has a much finer pitch application of dots than previous works. I allowed dots to touch one another, whereas I avoided that in the past. The India ink is much less evident.Photo: "Memorial Plaque" Porcelain, oxide wash, glaze, white epoxy. The epoxy is strong enough to hold the two halves rigidly together.Photo: "A Pot a Day, 4/24/11" For a while in the spring of 2011, I was on a kick to make one pot a day. This one has rice and BBs embedded in the surface, and iron and copper oxide applied inside and out. A pink glossy glaze is applied to the craters and a black glossy glaze is applied to the lip.Photo: "A Pot a Day, 4/15/11" Porcelain patches pressed into a press mold and glazed. Copper oxide wash prior to glazing created dark edges.Photo: "A Pot a Day, 4/23/11" A mixture of earthenware, stoneware, and porcelain with previously fired ceramic pellets, BBs, and brass filings embedded in the surface. A copper oxide wash and a clear glaze are applied to the surface.Photo: "A Pot a Day, 4/19/11" The deltoid shaped pieces (leftovers from the Sixty Kinematic Chains project) were already bisque fired when embedded in the soft wet pot. Naturally, a lot of cracking took place during firing.Photo: "A Pot a Day, 4/14/11" Previously fired ceramic pellets (left over from the Labor of Love project) are embedded in the surface of a porcelain clay body. Various oxides are applied to the surface and the pot is salt-fired.Photo: "A Pot a Day, 4/21/11" Porcelain patches pressed into a press mold with copper oxide wash and clear glaze.Photo: "A Pot a Day, 4/20/11" Porcelain and stoneware are roughly wedged together and then pressed into a plaster mold, then clear glazed.Photo: "A Pot a Day, 4/22/11" A marbling experiment: mason stains were added to porcelain to make the yellow and blue colors. The two were briefly wedged to intermingle the colors. A clear glaze is applied to the surface.Photo: "A Pot a Day, 4/25/11" Porcelain was wedged until dryish, then pressed into a plaster mold, which opened the cracks further. Copper oxide wash and clear glaze was applied.Photo: "Cloud" Underglaze layers applied to greenware, scraped off, fired, then crackle glaze applied.Photo: "Cloud" oblique viewPhoto: Underglaze layers applied to greenware, scraped off, fired, then clear glazed.Photo: oblique viewPhoto: "Iris" Underglaze layers applied to greenware, scraped off, fired, then clear glazed.Photo: "Iris" oblique viewPhoto: "Consanguinity--detail" Here are some oxide and carbonate glaze studies. To produce them, I prepared a four-part white stoneware, wedged it to the point of drying and cracking, rolled out slabs and folded them into convex shapes, which exaggerated the cracks that had formed. Then various oxides and carbonates where applied into the cracks and lightly sponged off, followed by a clear glaze after bisque firing.Photo: "Julia" Three porcelain slip slabs with glaze and iron oxide toner decals. The image is of daughter Julia watching herself on the screen in the early days of image capture experiments on a Commodore 64.Photo: "Moonlit Canyon" Porcelain slip slabs and underglaze. This is an interpretation of one of my "Design by Algorithm" images.Photo: "Campout" A trompe l'oeil class assignment. The frying pan is a ceramic replica from a plaster mold I created. Eggs, spam, and cell phone are also ceramic. I also added bacon scent and a recording of bacon frying (trompe le nez and trompe l'oreille?).Photo: "Cooperation" A class assignment to create an object with at least ten ping pong ball castings.Photo: "The Phoney Award" Another class assignment to create a trophy of some sort. This is based on an actual trophy, awarded in our family to the child who had the least cell phone minutes each month. It didn't seem to help reduce usage much, though. The spinning dime on the top is based on the shape of the Tony Award (thus the play on words in the title).Photo: "Relativity" Porcelain slip slabs and toner decals depicting Escher's Relativity. A warm tint and cool tint were given to the glaze for the interior and exterior scenes, respectively.Photo: "Symmetry Group" Another presentation of the sixty eight-bar, single degree-of-freedom kinematic chains. It is placed on a lazy susan turntable and ceramic gears reverse the rotation of the inner feature.Photo: "Replicate, Embellish, Deconstruct" A class assignment to reproduce an existing pot in the Krannert Art Museum, then transform the surface to reflect a different time period, and finally "deconstruct" the piece, which I took fairly literally.Photo: "Planter--closed" A porcelain planter with underglaze and glaze. Fake moss on top presents the viewer with a lever switch, which when activated...Photo: "Planter--open" ...causes a troll to pop out, flip the switch back to where is was, and then retreat beck into the planter.Photo: "Planter--detail"Photo: ARTS 310 Class Photo, Spring 2010Photo: ARTS 410 Class Photo, Fall 2010-Spring 2011Photo: ARTS 410 Class Photo, Fall 2011-Spring 2012 (Had to do some Photoshopping to include Karla.)Photo: ARTS 410 Class Photo, Fall 2012-Spring 2013Photo: ARTS 410 Undergraduate Class Photo, Fall 2013