clay tiles

In order to create these tiles, I first had to make a plaster mold so that the shapes could be replicated. I chose the perfume bottle because I was drawn to the intricacies of the decorative flower and the potential for detail work in the cap. It was only when I started actually working on it did I actually realize how difficult it was going to be to not have undercuts, as the flower I was depicting had many of them. When I finished with the plaster mold, I came to the part where I actually had to start putting the clay in and allowing it to harden. Like many people in the class, I had trouble taking the tile out at the right time. Mine where either too hard and cracked, or too soft and tore away. I ended up with many unusable tiles and only three that were worth glazing. If I could go back, I would go the glaze jobs 100% differently, but I just didn't know how they would turn out since it was only my first try.

plaster carving abstracted from nature

At the beginning of this project, we were instructed to create an organic shape out of clay, paying special attention to all the different angles it could be seen from and different ways it could sit. I found myself interested in the undulating tentacles of octopi so I started playing with different ways to approach the subject. I decided, for the sake of abstraction, that I should forgo including a head or any recognizable features besides the actual tentacle forms.

 Once the general shape had been chosen, we used a cardboard box to pour wet plaster in to make a mold. When the plaster was dry, we tore the cardboard away are were left with a rectangular chunk of plaster. The task figuring out where the tentacles should be in a hulking plaster block was both daunting and perplexing. I tried to draw the outlines on the sides of the block but got even more confused. Finally, I discovered  that the easiest way to approach it (at least for my project) was to figure out the heights of the tentacles so I knew for sure where I could start cutting away.

 As the piece started progressing, I learned which tools were better for what and became more confident in my skills. I began thinking in terms of positive and negative space, and how best to balance the two. Since the plaster block was more vertical than my original clay mold, I had to compensate by carving up rather than out. And the further I got, the more I realized that the carving had a mind of it's own. Though I wanted to include eight tentacles, the space and flow of the piece did not allow for it, so I just did what I felt was most aesthetically pleasing. If anyone actually takes the time to count tentacles, I will just follow up with, "it's an abstraction" and be done with it.

 This is the final, sanded down product of my work. Though it's quite a bit different from my original clay design, I am happy with the way it turned out. I feel it captures the subtle grace of an octopus' tentacles while not being too obvious. After the critique, I did a little work on the bottom so it wasn't just a flat plane. Though I would have carved more deeply and perhaps hollowed out the center if I'd had the time, I am at least content with the fact that it sits much better on a desk surface now.


FINISHED VIEW 1











FINISHED VIEW 2

FINISHED VIEW 3