Drawing x Ceramics 1 (Making)

Feeling fresh from my research and sketchbook drawings, I’ve started making sculptures in ceramics with white earthenware, as I want to translate my ideas in a tangible artwork. White earthenware is the equivalent of a white canvas, so the attention can focus on the shape and quality of work, and then possibly any mark making on top (If I choose to).

Sketchbook - Inspired landscape drawings

Using simple shapes, lines, and textures, I want to capture the essence of the British landscape, inspired by the many locations I've been lucky to visit. For me, a squiggled line represents many shapes in nature, whether tree trunks, branches, pine needles, grass, the shape of the horizon, and more. This is why I feel illustration is the perfect medium to explore the landscape, as the artistic potential is boundless.

My Sketchbook, 2021

Using this idea, I'm making squiggles in a three-dimensional form, ensuring I capture a specific line quality, looking at the balance of thickness, shape, and consistency. Like my drawing above, the tree on the right I enjoy, due to the sharp back and forth of the shadows in black pen, full of spirit, yet contained in their individual spaces - a balanced composition.

Ceramic WIP

My favourite here is the left photo, the singular squiggle, like a rollercoaster doing loops. Again, I think the balance is right, with the rounded loops riding into the sharp, connected kink. I also enjoy the solid circle, rather than cutting out a hole, which reminds me of collage, cut-outs. As if I've intuitively cut out the shape with scissors.

My least favourite is the right image. This was spontaneously cut, but has no flow, having multiple connecting points. It seems to resemble a pretzel - not what I was going for! I decided to cut away right 'arm' (See below), and use this piece, which reminds me of a broken ceramic piece. (Perhaps think about this when choosing to glaze it). See some further visual inspiration/artists below which inspired me.

The cut 'arm'

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Cy Twombly, “Untitled”, 1970

Ukii, ‘Unlucky Tree’, Resin, 2024

Kassandra Guzman, pottery collection

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In my sketchbook, I've fleshed out some ideas of what my final ceramics (For exhibition) may look like. I think my drawings have a connective quality, as different parts that are coming together. I've achieved this through attaching individual elements onto a seamless adjoining line, which gives the illusion of a hybrid creation. See the purple edits underneath, which I think help create this illusion.

I'm now waiting for the pieces to be fired, and then will decide on what glazes.

Sketchbook

Sketchbook with purple edits