Ceranic Art - Glaze Art
efa...@my-deja.com
on ceramic sculpture. Andrew Werby's mention of low temperature glazes
is not the only factor for choosing whether or not to subject a stature
to another firing for the result of a glaze finish. Not only do lead
glazes present a problem for large objects in confined spaces, but also
genre and aesthetics are to be considered. To properly exploit glazes a
complete philosophy must be adopted and a very particular art: Glaze
Art. Without this comprehensive approach, even classical statues - like
the horses of a late Chinese dynasty that were splashed with a yellow
glaze, may be diminished. To my eyes, they were turned into decorative
objects rather than art. On the other hand modern masters of Glaze Art,
who select glazes with finesse - often high temperature stone ware
glazes, have conceived of their objects particularly with the finish in
mind. It is a celebration of the material, like a Sonnet celebrates
language. The conception, by necessity, will result in a beautiful if
somewhat shallow tour de force. I think that Glaze Art is exquisite,
but it does not suit every ceramic artist and sorrowfully, not me.
I consider myself first of all a sculptor and only by chance a ceramic
sculpture - because it was available to me - like any molder living
near a clay bank. But my vision is three-dimensional primarily and the
object in space engages me more than its finish. Even though it must be
considered, obviously. One of my best statues had lain in broken pieces
for some years after a careless firing in a commercial kiln. Eventually
I put it together with concrete and epoxy glues. To conceal the patchy
construction I used synthetic whitewash, of a pale green color. I
believe that it is now an impressive statue. Any Glaze artist would
have told me to write it off and start again to have something
complete. But then the original vitality would have disappeared
forever.
I explained that burnishing is beautiful but results in a fragile body.
I usually use engobes, applied before the bisque firing. But even when
the coloring is completely successful later accidents may necessitate
non-ceramic additions. Andrew looks down upon shoe waxes. But they are
far more delicate than vitreous glazes. They have a glowing
transparency like watercolor, so that the original clay body shines
through. Diluted inks will not have a shine. One recent experiment was
to have a diluted acrylic paint in a light color over another one that
was darker. The result was an effect for skin as if from the 14th
century.
Glaze Art would seem to complete Ceramic Art. But I contend that it is
its own entity. Also that no kind of "purism" should prevent the
Ceramic Artist from completing his vision, as he or she may.
Florence Amit, Beer Sheba
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