ART 2757 (Section 2332): Ceramic 3D Concepts
Fall 2008
Instructor: Stephanie Stuefer Project 3: Minimalism: Connection and Multiplicity Readings: Make it in Clay: molds (p 8188), texture (p 129138) Launching the Imagination: connections (p 248250) Artist References: Brancusi, Tony Cragg, Brad Miller, Donald Judd, Steve Thurston, Sol LeWitt Also look at: diatomic particles, crystals, wood and architecture joinery, mechanical connections and fabric attachments. Goal: You will be considering two challenges within this assignment: 1. The creation and use of multiple forms within a composition 2. The design of a physically and/or visually integrated sculptural element of connection Design Problem 1 You are to create a composite, geometric form. This form should combine at least two known geometric forms (the meaning of composite) into a fully threedimensional structure. It cannot directly reference realism or imitate human, animal, or vegetable forms. You will be producing 10 – 15 multiples of your form, depending upon your overall design for display. The surface of the multiples may reference anything you choose, but must include primarily glaze and/or slip.
Design Problem 2 There are two options. You may design your forms to fit together physically by integrating connecting components or you may choose to make your series “connect” by how they are arranged in relationship to each other and how they appear as a progression of one form. The central theme of this project is working in a series and using the idea of multiplicity as a vehicle for your concept. For physical connection: Slides will be shown of methods of connection in machines, building construction, sewing etc. Be creative with your design. A hole in the form is not enough! You may think about how you will connect, open, thread, or link one object to another. Think about how beaded jewelry is connected by interlocking links. For visual connection: It must be obvious that you are working with the same form for each of your 1015 objects. They cannot vary too drastically; they must be obvious multiples. They must have strong surface and/or formal elements that clearly link them as a series. Your forms must be connected through a personally designed connecting component that visually and/or physically links each of the multiples. Consider elements of 3D and 2D that will make your series cohesive. For physical connection: Think about the mechanics of the way things actually join and fit together. You might consider the sleeves, bolts, and housings present in machinery fittings. Also consider architecture joinery, furniture joints, and fabric modes of joining including snaps, button holes, lacing, hook and eyes, zippers, and grommets. These differing modes of joining materials should be considered along with the way that the joint emerges from the composite form. The transition of the connector as it merges into the geometric form should be likened to the way things grow. The connector can reference any of the above joining mechanisms but must be a visually designed invention. You should concentrate on designing a visually interesting method of joining clay
multiples. Most of you will first think of sewing, lacing or wiring parts together. This problem should be solved in another way. This project focuses on imagination and invention (and craftsmanship!). Finally, you are asked to create a dynamic composition using the connected multiples within a defined space. You may create a wall sculpture, a hanging sculpture, a pedestal sculpture, etc.
Objectives: To investigate geometric form To examine methods of joining multiple clay forms To explore the use of multiples within a designed space To explore color and surface quality on form
Procedure: 1. Make at least 3 sketches and 3 maquettes to plan a composite geometric form. This form should be complex and fully 3dimensional. 2. Select one of the designs after a process critique with my assistance. Remember that the design represents one modular unit where each form is to be identical. Your sculpture is to be composed of 1015 repeated units. 3. Plan the connectors. Once you have chosen the form, you will need to consider the method of connection. Will it be a mechanical clay connection? Will it incorporate another material? Will it stack, use a horizontal plane, be arranged on the wall,etc.? 4. Make 3 maquettes (46” in each direction) of your design. This will allow you to actually see the form in 3 dimensions and contemplate your surface treatment. You may want to adjust or make changes to the form, connection, or final orientation. 5. Choose the most appropriate building method for constructing your pieces. Consult with me if you have any problems. 6. Start building your forms. Each module should be at least 4" x 4" x 4" and at most 6" x 6" x 6". 7. Develop surface and color. You will be using your testiles to experiment with possibilities.
REMEMBER…
**WHEN PLANNING FOR GLAZE: Think of how you will fire them without them sticking to the kiln shelf. Glaze must be used somewhere in your modules and connectors. Slip or acrylic paint should be used in those areas that will be touching kiln shelf. You must plan the surface before first firing. Paint will burn off in the kiln so you must paint after the glaze firing.