Sunday, July 18, 2010

Caroline Slotte


Caroline Slotte From the series Rose Border Multiple, Multiple Blue I, reworked second hand object, 2007
Photo: Tuukka Paikkari


Caroline Slotte From the series Rose Border Multiple, detail


Caroline Slotte From the series Gone Fishing, detail

Finnish artist Caroline Slotte's artist's statement from her website www.carolineslotte.com:

"Objects in our private sphere stir feelings in us and connect us to our history. They are tangible reminders of the past, of our own life story, and that of the family. In this way the most humble object can function as a key to the past, as a key to our inner. The poetry of everyday objects, with all the memories and associations that these objects contain: that is the starting point for my artistic practise.

"In my work I examine the memory-bearing aspect of second hand objects. What do remnants of lived lives – photographs, clothes, and other utility objects – have to say about us humans? What role do the objects in our surroundings play in the creation of continuity in our existence, and in the construction of a continuous life story?

"The manipulation of existing material is central in my work. I rework found objects, mainly second hand ceramic items, so that they take on new meanings.

"I’m interested in how the interventions direct or obstruct the associations of the viewer. The manipulated objects are characterised by a tension between the recognisable and the mysterious, the familiar and the unfamiliar. I rework the ceramics by cutting directly into it, by sculpting and sanding, and by combining elements from different objects. In this way, the work process becomes a way of questioning the material and highlighting stories contained in the objects."


Caroline is taking part in the National Norwegian Artistic Research Fellowships Programme with a practice based research project called 'Second Hand Stories'. More here.

Paul Scott at Contemporary Applied Arts

"Paul Scott’s work involves the digital manipulation of established vocabularies of printed motif, pattern and image from industrial ceramic archives and engraved book illustration. Cloning and collaging these, sometimes with photographic elements, he creates contemporary artworks in ceramic and printed form. The altered ready-mades, hand-built sculptural vignettes and architectural interventions are all characterized by a blue and white semiotic. Together with a focus on pastoral landscapes and chinoiserie, Scott’s work draws on the cultural wallpaper in our minds, playing with our sense of the familiar."
www.caa.org.uk/exhibitions/archive/2010/nicholas-arroyave-portela/paul-scott.html
23 July – 21 August 2010

Paul Scott's Blog:


Paul Scott on BBC Cumbria:
www.bbc.co.uk/cumbria/content/articles/2008/02/12/cumbrian_blues_video_feature.shtml

San Sebastian Willow


The view from the balcony at our holiday apartment in San Sebastian...one of four willows...

Robert Dawson

Robert Dawson Willow Pattern with Uncertainty, print on bone china, dia. 27 cm, 2003

Robert Dawson is currently showing this piece at Jerwood Contemporary Makers, Jerwood Space, London

"This exhibition at the Jerwood Space in south London, the third in a series, shows us work by applied artists that has stolen a march on all those stuck-up fine artists out there. It is a collection of unique, hand-made objects crafted in a variety of materials, including felt, glass, clay, wood, plastic and woven basketware.

"These are works that often begin in the idea of usefulness, and then do a unique sideways drift into something slightly odder...Look at Robert Dawson's Willow Pattern with Uncertainty, for example, a bone-china dinner plate overprinted with that oh-so-familiar willow pattern. Except that this is not quite true. It is over-printed only in part. As your eye moves across the plate, the patterning begins to fog, fade, mist over. You are denied that customary pleasure..."

Review by Michael Glover, The Independent, 29 June 2010


More work by Robert Dawson pertaining to Willow Pattern, taken from his website www.aestheticsabotage.com:


Robert Dawson Can you walk from the garden, does your heart understand
print on bone china, each plate dia 27cm, 1996

Robert Dawson Old New Borrowed Blue
print on ceramic tiles, 3.6x7.35m, 2008, Churchill Hospital, Oxford

Robert Dawson In Perspective Willow 1
print on bone china, dia.27cm, limited edition, 1996

Tuesday, June 29, 2010

Last ever Big Brother house goes all circus and chinoiserie






The plate design embedded in the Big Brother dining table is Spode's Italian Blue (or Blue Italian), first introduced in 1816. The central scene is based on engravings after a watercolour by a Dutch artist. The border is an interpretation of Japanese Imari design. This design is still in production.

Sunday, June 6, 2010

Empire


Empire, 2010. Ceramic and tea. 30cmx30cm

Friday, June 4, 2010

The Blueing of America


Curb Your Enthusiasm: Larry David is at Elaine's house, trying to persuade her to take part in a new Seinfield show. Elaine has a huge collection of blue and white ceramic. The pattern on the plate on the dresser behind Larry is called 'Trophy'.


Thomas Minton's Trophy, c.1800. Listed in 1810 as both a table and a teaware pattern. The design is a direct copy of an original found painted on Chinese porcelain. The same basic pattern was used by numerous factories. Plate diameter 241 mm.

In this project I have largely ignored the American's love of blue and white. I have concentrated on the Eastern hemisphere because this where it originates and where the British Empire grew, based on the tea trade. I particularly liked using the Eastern hemisphere, since it is not the usual representation used in the West when thinking of the world.

In Willow! David Richard Quinter talks about the 'Blueing of America'...

"Animated by the outreach of British imperialism, the Willow Pattern plate was a child of Empire; soon it would travel across Europe and around the globe, to the rhythm of an army's trudge and the slap and thunder of an oak-timbered hull. (The 1935 movies, Mutiny on the Bounty, probably got it just about right in showing Captain William Bligh (Charles Laughton) using in 1789 a Willow Pattern type bowl at shipboard mealtimes).

Wherever the British settled they took Willow Pattern-ware with them, or ordered it delivered to their new lands. Throughout the 19th century the Willow Pattern found as prominent a place in the Canadian or American home, on a New Zealand or Australian sheep station, or in the southern African mansion, as it did – and still does – in a Scottish manse or in an English council flat.

Sometimes it found a resting place where the British were not particularly in evidece – in Mexico, for instance. In the first quarter of the 19th century, shortly after Spain's domination ended, large quantities of British crockery were ordered and shipped to Mexico to grace the tables of a new class, a home-grown elite.

The sundering of political ties between Britain and its former American colonies in the 1770s did not sever the longstanding emotional or familial bonds, and the Willow Patter plate had a busy role in the new American kitchen and dining room as it did across the Atlantic Ocean. Indeed, even that cultivated trend-setter, George Washington, the United States' first president, used, evidently enjoyed and eight times ordered more of the Chinese porcelains, largely blue-and-white Canton- and Naking-style ware – the hand-painted Chinese inspired and derived versions of the Willow Pattern – for his home and official functions at Mount Vernon. "

The Americans began their own trade with China in 1783; 16 months later in May 1785, the Empress of China returned to New York to unload a cargo of fine teas, silks, cotton fabric, cinnamon and 60 tons of porcelain. They had traded furs, pig lead, woolen cloth, coinage, and 30 tons of ginseng (grown in the Appalachian Mountains). The ship's owners made a 25% return on their investment – later to be much more...

to be continued

British Gas vandals

I was passing Creekside Centre yesterday and noticed there was a lot going on in the yard. A lot of people attending a training event on green roofs were enjoying the sunshine outside the classroom, and a couple of vans were parked at the front of the yard. The site is leased from British Gas, and for weeks – on and off – the company has been investigating a gas leak. As I stood at the gate, one of the vans drove right onto my World In Pieces (aka China Blues)...

Hardly able to believe my eyes, I went in...I found Nick Bertram, Creekside Centre staff member, who came out and shouted at the gas workers. One of the chaps apologised, saying he thought it was already broken (well, yes, it is a mosaic of broken ceramic with weeds growing in it). He removed his van (by driving back over it again!)...


Now I don't know whether to repair it or remove it. The Centre staff are fond of it, but it's looking hellishly ropey...

Postscript: decided to tidy it up...

Tuesday, May 4, 2010

'A Nice Cup of Tea' by George Orwell

(Evening Standard, 12 January 1946)

If you look up 'tea' in the first cookery book that comes to hand you will probably find that it is unmentioned; or at most you will find a few lines of sketchy instructions which give no ruling on several of the most important points. This is curious, not only because tea is one of the main stays of civilization in this country, as well as in Eire, Australia and New Zealand, but because the best manner of making it is the subject of violent disputes.

When I look through my own recipe for the perfect cup of tea, I find no fewer than eleven outstanding points. On perhaps two of them there would be pretty general agreement, but at least four others are acutely controversial. Here are my own eleven rules, every one of which I regard as golden:

•    First of all, one should use Indian or Ceylonese tea. China tea has virtues which are not to be despised nowadays – it is economical, and one can drink it without milk – but there is not much stimulation in it. One does not feel wiser, braver or more optimistic after drinking it. Anyone who has used that comforting phrase 'a nice cup of tea' invariably means Indian tea.

•    Secondly, tea should be made in small quantities – that is, in a teapot. Tea out of an urn is always tasteless, while army tea, made in a cauldron, tastes of grease and whitewash. The teapot should be made of china or earthenware. Silver or Britanniaware teapots produce inferior tea and enamel pots are worse; though curiously enough a pewter teapot (a rarity nowadays) is not so bad.

•    Thirdly, the pot should be warmed beforehand. This is better done by placing it on the hob than by the usual method of swilling it out with hot water.

•    Fourthly, the tea should be strong. For a pot holding a quart, if you are going to fill it nearly to the brim, six heaped teaspoons would be about right. In a time of rationing, this is not an idea that can be realized on every day of the week, but I maintain that one strong cup of tea is better than twenty weak ones. All true tea lovers not only like their tea strong, but like it a little stronger with each year that passes – a fact which is recognized in the extra ration issued to old-age pensioners.

•    Fifthly, the tea should be put straight into the pot. No strainers, muslin bags or other devices to imprison the tea. In some countries teapots are fitted with little dangling baskets under the spout to catch the stray leaves, which are supposed to be harmful. Actually one can swallow tea-leaves in considerable quantities without ill effect, and if the tea is not loose in the pot it never infuses properly.

•    Sixthly, one should take the teapot to the kettle and not the other way about. The water should be actually boiling at the moment of impact, which means that one should keep it on the flame while one pours. Some people add that one should only use water that has been freshly brought to the boil, but I have never noticed that it makes any difference.

•    Seventhly, after making the tea, one should stir it, or better, give the pot a good shake, afterwards allowing the leaves to settle.

•    Eighthly, one should drink out of a good breakfast cup – that is, the cylindrical type of cup, not the flat, shallow type. The breakfast cup holds more, and with the other kind one's tea is always half cold before one has well started on it.

•    Ninthly, one should pour the cream off the milk before using it for tea. Milk that is too creamy always gives tea a sickly taste.

•    Tenthly, one should pour tea into the cup first. This is one of the most controversial points of all; indeed in every family in Britain there are probably two schools of thought on the subject. The milk-first school can bring forward some fairly strong arguments, but I maintain that my own argument is unanswerable. This is that, by putting the tea in first and stirring as one pours, one can exactly regulate the amount of milk whereas one is liable to put in too much milk if one does it the other way round.

•    Lastly, tea – unless one is drinking it in the Russian style – should be drunk without sugar. I know very well that I am in a minority here. But still, how can you call yourself a true tealover if you destroy the flavour of your tea by putting sugar in it? It would be equally reasonable to put in pepper or salt. Tea is meant to be bitter, just as beer is meant to be bitter. If you sweeten it, you are no longer tasting the tea, you are merely tasting the sugar; you could make a very similar drink by dissolving sugar in plain hot water.

Some people would answer that they don't like tea in itself, that they only drink it in order to be warmed and stimulated, and they need sugar to take the taste away. To those misguided people I would say: Try drinking tea without sugar for, say, a fortnight and it is very unlikely that you will ever want to ruin your tea by sweetening it again. These are not the only controversial points to arise in connexion with tea drinking, but they are sufficient to show how subtilized the whole business has become. There is also the mysterious social etiquette surrounding the teapot (why is it considered vulgar to drink out of your saucer, for instance?) and much might be written about the subsidiary uses of tealeaves, such as telling fortunes, predicting the arrival of visitors, feeding rabbits, healing burns and sweeping the carpet. It is worth paying attention to such details as warming the pot and using water that is really boiling, so as to make quite sure of wringing out of one's ration the twenty good, strong cups of that two ounces, properly handled, ought to represent.

www.george-orwell.org/A_Nice_Cup_of_Tea/0.html

Tea stained willow (2)


This time the drawing has been done first and will be used as a mat for the next month or so...(see Stained Past)