Patch and Pattern Techniques

The techniques and the methods

Nederlands

 

 

   When I took up ceramics more seriously, I realized the challenge,  the possibilities and I was very eager to develop my own vision. I wanted to make ceramics much  more interesting than just pots, plates and bowls. I challenged myself in all techniques; often pushing myself to the verge of  the impossible. My faith and determination helped me to develop new techniques that are unique to me. Each one of my sculptures is an   individual expression of my craft and my inspiration.

 

 

1.Different parts of the bodies were made based from tailored patterns.

 2. the pattern for the feet - almost like making shoes

 

     My work is not made from moulds as many people think. They are all built by hand individually from a very thin layer of clay -  1/2cm to 3/4cm thick. I developed the   techniques to save the time in making various parts of the moulds and I could shorten the whole working process and work freely as well. I call this method 'Patch & Pattern'

3. Upper part of the tango lady. I believe, like a make-up artist, a sculptor has a privillage to decide the look and the expression of each character for the right temprament.

4. balancing the posture of raw  piece "Angel"

 

This method requires precision, tempo and the right timing of slow drying process.  (from soft layer to leather-hard to balance my working tempo). Gentle massage technique (almost like burnishing terra-siggilata methods) is required sufficiently, from inside as well as from outside   to avoid crazing and to strengthen the hollow body.

Most importantly is the technique of putting all the pieces together as one massive figure with  the right balance, posture and position. The drying process can be very tricky; as the clay body can be very fragile and porous especially when it gets dryer and starts to loose plasticity. It can collapse to the ground without a proper support system until it fired as bisque. Some of my works are more than 1 meter high and weight less  than 10 kg.

5. national ballet - early stage of  the lower part. I started the composition with the chair, let it harden for 2  days to support the rest of her body weight. I added 20% of extra rough chammote for this part.

6. loneliness - early stage of upper part. I started the composition with the pillar she is leaning on

 

 

     The firing technique is another challenge. I have to be very careful of the temperature which might effect the original form of the body due to slumping or off- balance sitting position in the kiln. Therefore I have to consider an appropriate glaze mixture to match my clay. At this firing stage I have to monitor the programmes of the kiln accordingly in order to achieve the stability, the right timing and cooling stage. 

 I always calculated the  percentage of final shrinkage; the width and the thickness,  from the beginning of my working stage by using measured test pieces.

(The final characteristics are determined by the composition and preparation of the clay body, the temperature at which it is fired, and by the glaze that maybe  used. Clay consists of fine-grained particles that are relatively weak and porous until fired at high temperature -960° to 1000° degrees C for bisque). My final glaze firing from 1050°  to 1280° C.

<---4. basic of my ballerina - lower part foundation

7. ballerina upper part before final balancing.

       

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