Narrative art presentation

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Narrative art presentation

  1. 1. Incorporating The CeramicNarrativeScott A. Brown2nd Year 3rd termCREATIVE CONTEXT
  2. 2. A definition of theword “narrative” is asfollows: “A tale, astory or a recital offacts, especially told inthe first person; a kindof composition or talkthat confines itself tothese elements.
  3. 3. Ceramic NarrativeSince the inanimate cannot verbally speak, weare left dealing withpictorial format withshape, dimension andan image which can beassociated intimatelywith an identifiableobject. The image to beportrayed must gobeyond a mereornamental anddecorative context andconvey a narrativeelement.
  4. 4. Finding the VisualNarrativea psychological phenomenoninvolving vague and randomstimuli (often an image orsound) being perceived assignificant. This is a form ofapophenia called pareodolia.Common examples:The Visual- is seeing objects,animals or faces in the clouds,the man in the moon, ormoon rabbit.The Sound- is hearing hiddenmessages in recordings playedin reverse, voices from staticor white noise. Distortions inanimal cries or sounds fromthe wind
  5. 5. Context of finding the VisualThe studio practice use the brains natural makeup to create recognizable objects from themedium to be worked in. It take point from thematerials surface to guide the work, enhancingits nature. This allows for the clay to be fullyutilized from its natural state rather then forcinga character into it. This is similar to the oldmasters carving away marble to reveal figurelocked hidden inside of the marble block.
  6. 6. Creative ContextInstilling a mood, theme or ideal, is the mainobjective of the artwork which is desired to becreated in the studio practice. It is sought toexplore this creative process through a tactile andnarrative context. It will incorporate elementsoutside of the ceramic medium to do so. It will relyon the minds ability to continuously try to makesense out of overwhelming stream of randominformation and stimuli amassed constantlythrough daily life. This collection of information isfocused like a lens in the making process to theproduction of a final piece.
  7. 7. Creating multiple narrative approaches toartwork will be a conscious approach to theartwork created. The artwork takes on adifferent story depending on how the narratorwishes to present the work. It can be brokendown into part or in unison as a whole of itsparts.
  8. 8. THE NARRATORNarrative of all kinds, weather they areoral or image have the tendency to reflectthe point of view and attitude of thenarrator
  9. 9. Observation On The NarrativeIn the episode ‘The Blind Banker’, of thetelevision series ‘Sherlock’, the openingscene had various examples of NarrativeArt types in my observation. The scenefocused around a curator maintaining a400 year old oriental teapot. Thenarrator describes the story of theteapots maintenance while giving avisual account through demonstration.Although not directly reference the actorconveys the culture of the Japanese teaceremony in her demeanor and narrationpace. The scene further illustrates arelationship potential between twocharacters which hides a forebodingsecret, which will deny this fromflourishing.(I have embedded the clip within thisslide if you wish to observe it.)The blind banker – SherlockA series based on the Sir Arthur Conan doyle characterSherlock Holmes
  10. 10. In 2005 Gerit Grimm ahad a mix mediainstallation of hervision of aWonderland. Thereare elements of whichI would like toencapsulate into myartwork but with amore subtle themedapplications.
  11. 11. To view the piece you had to enterthrough a cutout hole in the bottom toexplore all the elements of the piece.
  12. 12. Personal observationsThe installation best reflects the storytelling device called a diorama.
  13. 13. Diorama(1) A three dimensional miniature or life-size scenein which figures, stuffed wildlife, or other objectsare arranged in a naturalistic setting against apainted background.(2) A scene reproduced on cloth transparencieswith various lights shining through the cloth toproduce changes in(3) a nineteenth-century mobile theatre device, or,in modern usage, a three-dimensional full-size orminiature model, sometimes enclosed in a glassshowcase for a museum.
  14. 14. By incorporating a mythos into the studiopractice this mythos will be applied to functionalobjects such as tiles and other decorativefunctional objects. There will be kept a fine linedrawn between painterly and decoration,keeping this approach from become a tweecraft, room decoration. The tiles will willincorporate the attributes of a mnemonic devicesuch as a lukasa memory board.
  15. 15. Simultaneous NarrativeA Lusaka, is a mnemonic deviceto help with telling a story.It utilises a simultaneous narrativewhich incorporates geometricsshapes spacing and a knowledgeto translate it.It is referred to as a memoryboard and is decorated withshapes, etchings specificallyspaced to be interpreted by thenarrator trained in itsinterpretation. They at onceillustrations of the Luba politicalsystem, historical chronicles of theLuba state, and territorialdiagrams of local chiefdom.
  16. 16. Mnemonic deviceIncorporating the artwork to work as amnemonic or memory device is desired withinthe studio practice. This is to be applied throughfunctional objects of tiles, vases and otherutilitarian objects.
  17. 17. Sensory osmosis andassimilation• I use the brains natural make upto create recognizable objectsfrom the medium I work in. Itake point from the materialssurface to guide my work,enhancing its nature andcharacter. This allows for theclay to be fully utilized from itsnatural state rather then forcinga characteristic into it. A stronginfluence drawing out acharacter from clay isunconscious processing ofinformation through assimilationand osmosis.A gradual oftenunconscious process ofassimilation orabsorption.E.g.. Learning Frenchby osmosis whileresiding in France forfifteen years.
  18. 18. SYNTHESISThe separate elements or substances to form acoherent whole.Within the studio practice there is an approachto make a connection to various material toelaborate and reinforce the narrative process.The relationship between the material will givedimension to the story in a symbiotic nature.
  19. 19. fauvismA movement in painting began in the early 20thcentury in France by a group of artists andmakers. It used the bold and frequent use ofdistorted forms and vibrant colour.
  20. 20. FauvismThe father of Fauvism was HenriMatisse who was attracted to thesensuality of the human formwithin his artwork. It played a corerole in his ceramics.
  21. 21. Fauvism and the studio practiceThere is an approach to adopt a coloration ofglazes to the ceramic surface within the studiopractice. This will be an approach which will bein coincidence of the application of transfers,print and surface modification.
  22. 22. 20th Century CeramicsTwentieth century ceramic narrativehave primarily been kept static andonly followed the same commentariesand symbols that have been applied toceramics for thousands of years. Thepots have been a touchstone formetaphor and messages on utilitarianobjects involved in ritualistic andcelebratory roles. But there started anew ideal towards the studio practicegiving the message as an importantrole as the medium.
  23. 23. Robert ArnesonA Californian artistwho with otherartists distancedthemselves fromtraditionalmanufacture offunctional items andpreferred to useevery day objects tomake confrontationalstatements. The newmovement wasdubbed, “Funk Art”.
  24. 24. The Funk MovementA reaction against the non objectivityof abstract expressionismexpressionism. An antiestablishmentmovement that began to paint subjectmatter again rather then playing withthe non-figurative abstract forms thatabstract expressionist such as JacksonPollock and Mark Rothko weredepicting.The term came from an abbreviationof the Jazz term, “funky” as like themusic of the 1920’s the art wasperceived as unrefined andunsophisticated. In ridicule the termwas also had an negative associationof a foul smelling thing.
  25. 25. The Funk Art MovementThe Characteristics and techniques ofFunk Art works were more importantthen subject matter. It was a form ofself identification and not bound withpublic morality.
  26. 26. The Funk Art MovementThe artist created the artwork on apersonal level. They focused onidentifying with the work they created.They retreating from a focus on asocial agenda and have more of afocus on Absurdist Art.
  27. 27. The Funk Art MovementThe artist were committed toidentifying with the work on apersonal level with out focusing onsocial causes and had a stronger focuson Absurdist Art. Through their artthey demonstrated their personalfeelings, emotion and processes. Ithad a close relationship nature ratherthen culture.
  28. 28. The Funk Art MovementThe artwork reflects the artistspersonalities and experiences. Theartwork was often self deprecating,ironic and humorous they also touchedon more serious topics. The funk artcontained a sense of ambiguity onaccount of not having clear meaning tomany of the pieces.
  29. 29. Clay is not merely a canvasClay is not a basic canvas for an artist. It is athree dimension application of surface andform. It is a topography to be mapped out andexplored to elaborate the narrative process.
  30. 30. Rudy AutioRudy Autio was open to the start ofabstract expressionism. He wasquoted as saying it initiated a newfreedom from the sometimes ridgeddiscipline of the pottery wheelenabling him to make the vesselsinto fluid and amorphous whichwere the basis for his lively studiesof the intertwined human figure.He was economic with his linearbrushwork applying a painterlycadence over the undulating outlineof his pots.
  31. 31. Joan Miro’An artists from Catalan with anintimate hands on feeling forclay explored primitive surrealand mythological imagery whichhe have his own stamp ofidentity.He gave his work preternaturaliconography which seem tocome organically from the clay.
  32. 32. Pablo PicassoWith clay playfully improvisedand combined his abilities as apainter and sculpture. Theywere rich with expressiveglazing which he investigatedthe mythological world of hisart.Within my studio practice Iwould like to have a rawconnection with the claycoloration and subject matter.
  33. 33. Alternative Surface• Firing processes, application of glaze ormanipulation of the base clay materialare various ways to surface a ceramicpiece. This is the the main applicationof the narrative onto ceramics.• Mathew Castle an American artist hastaken the concept of the lavish andimmediate choices of surfaces foundthrough out glaze books and instantlyseeing the results.• In this context he has taken 8 slides andprojected them upon a teapot to reflectthis experience.• Running with this approach the idea ofcontinuing the narrative process directlyonto a ceramic piece allows for adiverse and open exploration.
  34. 34. conclusion• There is an adoption of various concepts,ideals, and artistic styles being predominantlyresourced from the 20th century. Theseelements will be put into the context of theartwork.

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