Gesamtkunstwerk Reality

Going against my previous idea of presenting a part of the collection ive decided to put all 20 artists into the presentation and define the most important aspects of each piece and at the end sum up why these particular artists have helped me form the basis of my ideal object.

Overall im not sure how tomorrow will go but I have a rough idea of what I intend to make but the overall presentation may have areas that make more sense than others and whether this presentation will meet Ingrid’s expectations remains to be seen

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Gesamtkunstwerk Robert Coby

 

The current pieces from the Topography Series of glass vessels

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

Robert Coby’s work in general doesn’t have a function but serves as a more applied art piece that demonstrates the execution of the long running techniques of glassblowing. The removal of material from the surface and finishing touches to create a jagged and unfinished look adds to the process and final result and develops my interest in the manipulation of form and look.

Material – Are you drawn to it because of the material it is made from?

The use of glass as a material is of great interest to me as I believe glass has a lot of advantages to other materials as being a very manipulative but also unforgiving material that adds a greater challenge to the process.

Craftsmanship – Is it the virtuosity of skill evident in the object?

There is indeed a high level of craftsmanship as glassblowing requires a great amount of attention not just from an observational perspective but also a quality look as one mistake can prove fatal and unforgiving.

Expression – Does it speak to you, move you, if so how?

This series of work speaks to me as looking at the pieces there is a high attention to detail and a ver unique look to every piece, what moves me is the relation to the environment of the working area and the dedication and hard work of making the piece then removing a substantial amount of the original form to reveal the layers underneath.

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

This is an inspiring series of work as glassblowing is a long existing technique but I’ve never seen a piece that exhibits the look that his work displays. I believe that this series of work is challenging as in the competitive market and expensive market that glassblowing when you are able to create a way of making that goes against the norm and look of the traditional you are on to a winner.

 

 

 


Gesamtkunstwerk John Edmark

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

John Edmark’s work focuses on simple and continuous patterns that alone are interesting and simple to make but can become a more complex idea as further development is endured. This is of interest to me as I like to use continuous patterns within my work to create a more flowing look, plus the simplicity of the look of the work means that you can adjust and add to the piece and evolve the idea and the look of the piece as it goes along.

Material – Are you drawn to it because of the material it is made from?

John Edmarks 3D printed outcomes are an interest to me due to my developing interest in 3D printing and the useful ability to be able to test the look of a piece digitally before even beginning to create a physical piece. Also as the 3D making and object market has increased the appeal for a high quality look at a lower cost budget is more appealing. Plus with what im intending to do for my final pieces there will be a great amount of manipulation so 3d printing and digital designing will be able to give me an idea of what the piece will look like and whether the idea will work.

Craftsmanship – Is it the virtuosity of skill evident in the object?

Edmarks work has a great attention to craftsmanship due to following the pattern of fibonacci in his 3D printed pieces as 3d printing is a difficult program to use at the best of times especially when creating a consistent pattern that has to be totally accurate or the piece will be thrown off.

Expression – Does it speak to you, move you, if so how?

I believe the simplicity of the use of pattern within John Edmark’s work is ideal as fibonacci has a less is more approach and the practical experimental and end results is really interesting and simple but conforming to a repetitive pattern. This moves me as it shows me a practical and cost effective way to test and create patterns to test the look and idea of what the look of the piece will be like before making the final piece.

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

The fibonacci pattern is considered the ideal look and form in not just art but everything really, and I believe this is challenging as such a process that exists so wildly is difficult to find a new edge to look at. I believe this is a challenge especially when using materials that don’t conform a lot of the time to a perfect corresponding pattern. This intending to work in glass will prove a challenge especially when the processes and ideal look of the pieces I intend to make will go against the idea that fibonacci is all about.


Gesamtkunstwerk Zemer Peled

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

Zemer Peled’s current working practice doesn’t fit a functional purpose but rather a sculptural communication of the beauty of the natural world but also the destructive nature of the natural world. Originally the pieces that make the overall sculpture came from ceramic plates and were broken down and formed to create the given look.

Material – Are you drawn to it because of the material it is made from?

The use of taking existing objects and destroying them and re integrating them in a sculptural and nature based forms especially in ceramics is an interesting and more occurring way of making that I have noticed since the start of Maker what makes the idea appealing is the manipulation of existing objects that create individual unique items and stands out from most practical practices that use existing influences in the practical outcome but completely made by hand on the final physical object.

Craftsmanship – Is it the virtuosity of skill evident in the object?

Looking at Zemer’s work there is obvious craftsmanship in the structure and layout of the pieces as well as giving the look of a fragile state and the look of something you want to touch but won’t due to the worry of the fragile look and sharp edges.

Expression – Does it speak to you, move you, if so how?

Zemer Peled work speaks to me as it shows that a piece doesn’t necessarily have to be made from scratch and the arrangement of broken but smoothly cut pieces is interesting and the finished results have an amazing resemblance to natural elements.

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

I believe that this is an inspiring way of working as in a sense you recycle existing pieces into your own practice which is an ecological and cost efficient way of practicing your craft especially if this is your living. This way of working is challenging as many artists prefer to make from scratch everything they make to gain more of a sense of ownership to their work, but this way of working allows the original concept and context of the object to be explored in a new way through a different artist.


Gesamtkunstwerk Shelley Doolan

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

Shelley Doolan’s work serves as decorative sculptural or weighted pieces that explore shape and material dexterity. Doolans works serves as adjustable ornamental display pieces that can be made more effective with the use of some form of light source directed at the piece also if requested can be adjusted to be mountable to the wall. This is of interest to me as I like to create a textured feel to my work and something that can be manipulated even if it’s on a small scale to meet the needs of the individual buyers which is essentially a major factor in the selling of work.

Material – Are you drawn to it because of the material it is made from?

What I like about the material use of the works by Shelley is how her understanding of the material allows her to explore areas and potential that I myself haven’t thought of or conceived as possible due to cost and the resources available. The use of such large amounts of glass and in particular the use of the process known as Lost Wax Casting is greatly admiring especially knowing that the process is long and tiring but the results are fantastic never the less.

Craftsmanship – Is it the virtuosity of skill evident in the object?

Speaking as someone who uses Rhino there is evidently a great deal of knowledge and skill in her work as starting designs even if they are repetitive is not easy but once you have achieved your intended result can be high sort after as outcomes and career opportunities, plus the combination of technological processes and glass opens up new opportunities that are limited with glass and without technological intervention cannot be achieved as easily, consistently or as high a quality.

Expression – Does it speak to you, move you, if so how?

These works move me as usually I tend to focus on objects and outcomes that for fill some form of function such as a bowl or a drinking vessel. This mainly being due to difficulties with the idea of context within my work mainly. What I particularly like about her work is the combination of processes that I myself have been learning through Maker so I have a good understanding of what goes on and how they are achieved which I don’t usually have on artists work. Plus the mix of technological and hands on processes create a stunning piece combined together which is something that I hope to include n my work or future works.

 

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

What I take away from the work is the obvious knowledge that combining processes that have existed for many years and the combination of newer and ever developing technologies such as 3d printing when brought together create some fascinating and high quality results. This has made re-evaluate my take on traditional processes in comparison to more technological methods that are more machinery oriented. My reasoning for this way of thinking is that as art and craft and pretty much everything evolves there is an obvious shift in development where certain methods will be prioritised to a more industrial method of mass producing and sort of I feel remove the joys and the passion for making, but I feel that making by hand will always be a desired result and a combination of understanding for digital technologies will greatly increase opportunity’s.


Gesamtkunstwerk Philippine Sowerby

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

Philippine Sowerby work acts as a more playful and interactive nature that can regarded as a craft piece without a functional purpose or a piece that allows interaction from the collector of the piece in the sense of they can conform and shape and even removes certain parts of the piece if that is desired with the potential to make a collection of objects from one object. This is of great interest to me mainly due to the fact that the materials I tend to work in are hazardous but do produce beautiful results but due to their hazardous nature and reputation they are approached with caution. My interest if further developed is to create pieces inspired by nature that have the playful nature shown in Sowerbys work but also the use of other materials potentially collaborating more than one material and finding ways to make several or possibly limitless objects as the result of just the pieces made together of the original

Material – Are you drawn to it because of the material it is made from?

Due to the wood used in the pieces being from local regions the link to the natural surroundings is something I greatly admire and hope to introduce in my own work if I possibly can. Also the use of making an object from the deceased origins of an existing object is something that I note I do in my own work but makes use of what may go to waste. And almost dedicates to the natural cycle of Nature.

Craftsmanship – Is it the virtuosity of skill evident in the object?

Just looking at the pieces can show that the attention needed to get the shape desired cut into the wood shows great skill as wood when being cut is well known to be inaccurate and taking sanding and manipulation to get the desired result. Also a great amount of skill is needed to be able to create a single part of the jigsaw piece without damaging the area around it to the point that the piece even when cut up wont form back to the original shape and the intended desire of the artist.

Expression – Does it speak to you, move you, if so how?

This speaks to me as I’ve always tried to maintain a balance of functional but also creative interaction with my work whether this be through the links to the environment or the links to the material and its limitations itself. One thing I would say about the piece is that I believe there can be more evolution to the work which using this piece and artists ass an influence will be my starting point but the idea of making a piece in this means is something I find I more prefer and as well as creating functional objects this would be my major area of research and interest.

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

This inspires me as unlike most of the work I’ve seen and some of the artists I have researched and used for influence and a starting point in my work the interactive nature is more of a dominating feature and I quite like the idea of this as I want to build a career that allows me to make what I want to make but also allows anyone interested in the work to adapt the piece but also add at request something as I believe this makes the piece more personal to the individual than it would as just my own idea in a gallery but of course this is the desired result and opinion of the buyer or collector in question.


Gesamtkunstwerk Matt Chambers

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Function – what does it do, or did it do … is this of interest to you? What is it purpose.

Matt chambers work explores the use of the circular shape of objects that gradually shrink in size the further and further backwards they go into the heart of the piece. From observation I would believe that his series of sculptural work serves no functional function but more of a display piece showing the beauty and intrigue of ceramics as a movement and a material used in the artistic practices all around the world.

Material – Are you drawn to it because of the material it is made from?

Matts work much like any ceramic work to be perfectly honest isn’t something I would honestly draw myself to straight away, mainly due to my lack of skill in throwing which is something that I hope to spend further time on in the future. Despite this I love the use of stoneware clay in the piece and the fact that every piece seen individually in the work is made by hand on the potter’s wheel and placed within the piece layer after layer to get the shown result. Also knowing that Ceramics is a unforgiving material in some respects when it comes to surfaces and the hands of the potter and the details of the skin imprinting as well as the risks of explosions and improper firing but the shear quality of the pieces individually despite all these known problems is very respectable and the use of depth and layering despite these problems is really interesting and something I am considering making part of my exhibition piece either as a form of look or a physical characteristic.

Craftsmanship – Is it the virtuosity of skill evident in the object?

With the visual skill and dedication put into throwing and ceramic piece building within my university there is great skill shown in Matt’s work especially when researching further and seeing his work first hand in London. As ceramics is such a delicate and unforgiving dependant on which way you perceive it material due to surface textures, also with all the dangers of breakages and looking further into the pieces and seeing the size that they go from on the outside to the inside shows great skill and belief due to ceramics unkind nature.

Expression – Does it speak to you, move you, if so how?

What particularly moves me with this series of work is the use of shape through throwing and the use of layering from small to larger and that in some of the pieces there is a pattern formed that is consistent with every layer which I would really like to explore as to how this is possible without error occurring.

Innovative – Does it inspire? Does it challenge, is it beautiful, and if so why?

Due to the very nature of ceramics as a material allowing for even a second will result in something going wrong I believe this inspires me to take greater risks but be more prepared then previous endeavours to master the skill level evident in this particular series of work. As far as challenge goes this is one of the most simplest yet inspiring ceramic pieces I have ever seen first-hand and despite my lack of using the material and skill in using the material I hope to find a means to be able to bring my strengths and combine these weaknesses to create pieces that from the inspiration of Matts work show that anything is possible providing you work at it and have more than one way of achieving the desired result.