Ceramics
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At the international exhibition "ceramic art London 2022" (Central Saint Martins, Granary Square). Sculpture by James Evans. There was obviously some kind of iron mixed into the clay. To me, his sculptures trigger associations of the decay and, hence, the transitoriness, of our grand technological structures. So, what we are looking at is the debris of the Anthropocene.
At the international exhibition "ceramic art London 2022" (Central Saint Martins, Granary Square). Sculpture by Chris Turrell. Chris is based in Liverpool and what interests me in particular is that he moved from figurative and anthropomorphic sculpture to a minimalist and radically abstract approach. Those of us knowing one or two things about prehistoric art will immediately discover that this is the way art developed in ancient times from the palaeolithic to the mesolithic - from elaborate cave wall frescoes showing animals to geometric patterns and dot paintings.
Colorful ceramics in the shop with souvenirs on the island of Rhodes :)
Kolorowa ceramika w jednym ze sklepów z pamiątkami na Rodos :)
Little jug (about 9 cm tall) which I bought when I was in Greece :)
Looking close... on Friday! - theme: "White background"
Damaged ceramic bowl, which I brought some time ago from Tunisia. Maybe it's imperfect now, but I very like this souvenir, co I couldn't throw it out ;)
Macro Mondays - theme: "Imperfection"
Celeste and I completed an 8 week pottery course in Robertson. For me it was my first attempt at pottery. Everything made was all hand built on Cycladic and Minoan themes, that is ancient greek from the Greek Isles and Crete.
Here is a progress photo, my objects are on the bottom shelf and Celeste's on the top shelf.
Into the Light - Day 106 - Year 2022
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Visited my 90 year young aunt today.
My aunt made this life-size ceramic cat in 1972. It is one of many figures she made back then. This one was always a favorite with her grandchildren and great grandchildren and it sits very alert and cat-like near her front door.
Back in the 1960s through the 1970s every town seemed to have "Ceramics Classes" being offered and many 'middle-aged' housewives participated. I remember my mom attended a few.
Inspired by the KraftWork Ceramics collection in the latest Pocket Gacha, I put together a little artisan ceramics studio in Fourth Walls Industrial Cabin. I can just imagine myself pottering away to make items for sale to visitors. Another great fun project!
Build:
[FOURTH WALL] Industrial Cabin
Gacha Items:
KraftWork Ceramique Sign
KraftWork Ceramique HT Oven RARE
KraftWork Ceramique Shelf
KraftWork Ceramique Set of Pots 1
KraftWork Ceramique Set of Pots 2
KraftWork Ceramique Set of Pots 3
KraftWork Ceramique Set of Pots 4
KraftWork Ceramique Work Table
KraftWork Ceramique Potter Table
KraftWork Ceramique Potter Table w/pose
KraftWork Ceramique Stool 2
KraftWork Ceramique Potter Wheel Short
KraftWork Ceramique Potter Wheel Tall
KraftWork Ceramique Standing Books
KraftWork Ceramique Book Pile
KraftWork Ceramique Modelling Board
KraftWork Ceramique Plates
KraftWork Ceramique Single Book 1 & 2
Other Decor:
.05 [ kunst ] - Storage crate
.12 [ kunst ] & [ILAYA] - Clay vase (a)
[Tia] Bolbec Sacks - Stand Alone Shading
[Tia] Churchill Paper Basket - Blank
..::THOR::.. Old Metal Bucket 1 & 2
..::THOR::.. Brushes Jug
..::TH::.. Industrial Lamp
Nutmeg. White Bucket
Nutmeg. Cloth White
Nutmeg. Rustic Industrial Stool Black
KraftWork Kalgoorlie Outdoor Sink (5LI no flowers)
4 KraftWork Vintage Clock Radio (SCRIPTED)
Stockholm&Lima: Nawashi Bucket
Apple Fall Red Teacloth
[FOURTH WALL] Cabin Console
Silence. - Myron Rug - Gradient Diamonds
:CP: Repurposed Wall Light
Various Culprit Bowls
The Loft - Wooden Rug
MN Rolling Pin - textured
MN Dough - textured (and tinted)
"They traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, typhoons, and floods. The dragon is also a symbol of power, strength, and good luck for people who are worthy of it in East Asian culture." (Wikipedia)
Set of three stoneware ceramics
Stackable with two different ‘tops’.
Mix of yellow, pink, green, cobalt, matte white, celadon and copper oxide glazes.
Stands about 13.5cm tall and is about 9.5cm in diameter.
Available from: williamedmonds.bigcartel.com/
Ceramics from several years back. The matching between the origami bowl and the ceramic bowl was unintentional, but the addition of the origami lid was inspired by the ceramic piece.
Canon EF, Kodak Tri-X 400 Film
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This shop is in the Island of Rhodes.
I have made a commitment to include more interior arts and ceramics into my photography on this European trip. I didn't realize how famous this ceramic shop was till I was told they export their ceramics all over Europe including Athens area of Greece. They are so committed with their work and the history that comes with this shop. They make their own ceramics hand-made and plentiful of them.
The art of Turkish tiles and ceramics occupies a place of prominence in the history of Islamic art and Middle East. Its roots can be traced at least as far back as the Uyghur's of the 8th and 9th centuries. . Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. With the Seljuk's victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.
These examples are extremely complex and detailed designs to be applied to ceramic surfaces. In addition to plant motifs, examples decorated with calligraphy and (less commonly) geometric patterns that are a continuation of Seljuk traditions are to be found. A rich and subtle palette of colors was available with colors such as turquoise, cobalt blue, lilac, yellow, black, and pistachio.
Ottoman Turks inherited the design and the craftsman ship of Seljuk's Ceramic arts and developed the techniques of ceramic making. The late 15th and early 16th century marks the beginning of a new period in Ottoman tile and ceramic-making. The most important center active at this time was Iznik. Designs prepared by artists who were employed in the studios of the Ottoman court were sent to Iznik to be executed in wares ordered for use at the palace.
The court's patronage stimulated and supported the development of an artistically and technically advanced ceramic industry in Iznik. The techniques involved in their manufacture are quite advanced as compared with anything previously done. The pastes are quite hard, pure white, and of fine quality. In that period these ceramics must have been fired at temperatures as high as 1,260 degrees Celsius rather than the normal 900 degrees adding that, at such temperatures, one is in the realm of light porcelain.
The techniques and quality employed in these ceramics were to last through various changes in style until the middle of the 17th century.