While high firing some of my smaller porcelain pieces to 1280°C I noticed they warped quite a bit, specially if they came out at the base without much support and although I brought the temperature down to 1240°C my bigger pieces significantly slumped and just miraculously hanged over from the kiln shelf.
Not too sure initially what to think of it, I began to like its precarious stature and how uneasy people felt approaching the work. Is it going to fall?
But how do I approach porcelain now? Do I build supports around the work when firing? Do I just build normally and see what happens? Use different clay? Add groggs to the clay?
I noticed Susan Nemeth had these strange supports around her work but didn’t think much about them until I actually started having these problems.
The bodily stature of that piece made me want to develop those ideas even further and have that particular piece as a catalyst for this years project. The attempt of evoking a somethingness other than what it really is, a pot. This has lead to think about the exploration of where craft sits within the fine art spectrum, a well-trodden narrative for those within the field of ceramics, my work tries to fit ‘an intervening space’, a description coined by Jorunn Veiteberg in her book Craft in Transition (2005). A space between function and non-fuction, tradition and breaking with tradition, craftmasnhip-based art and idea-based art