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Josefina and her family, mostly sisters, have been making whimsical clay figures for a few decades now. This is an old piece set out in the Casa Colonia, a charming old B&B in Oaxaca.
Hans Kievit (1966) kan gerust ‘de man van klei’ genoemd worden. Honderden van zijn kleifiguren zijn gebruikt in reclamedrukwerk of tijdschriften. Hans was werkzaam als illustrator voor onder andere BASF, Malmberg, ABN-AMRO, Nutricia, Playboy, Dixons, NS, Volkskrant Magazine, V&D en het Ministerie van Landbouw, Natuur en Voedselkwaliteit. BLAAK10 heeft hiermee met deze expositie de primeur van twee monumentaal uitgevoerde figuren.
Over the years Hans Kievit has created more than 500 clay-characters and objects. Some of them were placed in handbuilt sets. The images of Hans Kievit are real 3-dimensional clay works, which were photographed so they could be used for mainly advertising and magazines purposes. Hans has worked among others for Nutricia, V&D, BASF, Playboy, Viva, Dixons, Volkskrant magazine, NS, Malmberg and Fiat.
Clay dog figures like this were mass produced for burials in China during the Han dynasty (circa 200 BCE to CE 200). The clay dog replaced the earlier use of sacrificed dog as guardian of the afterlife.
a video capture of my personal project, In the Dark, in which you have to view the photos with your cell phone light in a cold, dark space.
www.youtube.com/watch?v=OeYkF1tZPdo
Usually, in museums and galleries, the viewers are able to look at the photographs or the artworks pleasantly in the light-sufficient environments; therefore, they can see the photograph entirely in its composition, and they can also review the complete body of work in a short period of time. To challenge this notion, I want to create a pitch black environment in the gallery where the photographs will be displayed. To view the images, the viewers have to use their own available personal light source such as their cell phones, and get very close to the image. As a result, only one person can view a particular image at a time; and he or she can only view part of the image at once since the image will turn dark the moment the viewer moving the light source away.
By doing this, I want to make the viewers heighten their awareness of the environment, to take them out of their comfort zone, to make them become the explorers. The light-depraved setting also reflects the conditions portrayed in the photographs. The literal darkness surrounding the viewers furthermore exemplifies the darkness of the human mind and emotions that are explored in In the Dark. This element along with the ambient sounds and smells, which I will provide before the exhibition, will pull the viewers into the world of the images. The often-passive audience will be forced to engage with the photographs.
This project focuses on the physical experiences that the viewers will have during the exhibition such as their first reaction coming into the completely dark gallery-space, their responses when having to look at photographs one at a time, and being immersed in the dark environment with the unsettling ambient sounds and the smell of scented oil. All of these factors with the grim, horrific content in the images would give the viewers a unique, memorable gallery-going experience.
Concept-wise, In the Dark portrays metaphorically the mundane lives of the distorted clay figures and a dog in the dreary domestic setting. The deformed figures still sustain some human physical resemblances. They, however, cannot be identified by facial characteristics but by their shapes and sex organs. Their sex organs are overtly visible and enlarged. Through these physical looks of the figures, I want to evoke the sense of weariness, depression, emptiness, alienation, and confusion from which the figures suffer. The causes for these miseries and deformity are elusive—they are up to the viewers’ interpretations.
Through these photos, I want to evoke the viewers’ imagination and emotions, and also to intensify their experiences mentally as well as physically.
These photos are of the clay pieces contained in the Museum of Culture at Santo Domingo in Oaxaca. I will fill in detailed information about them at a later date. Some are as early as 600 B.C., others from the classic period of 500-900 A.D. The oldest ones were found at San Mogote, a site which pre-dates Monte Alban.
I took the photos in sepia because I found that it showed the form more clearly. The rooms where these figures were displayed were quite dark, and I had no tripod. Had to hold my breath and steady the camera.
Created during the Jomon Period (15,000BC-400BC), Dogu are enigmatic clay figurines numbering in the thousands. What were they? Idols? Effigies? Fertility objects? Children's toys? Aliens (nah)? Nobody knows. Interestingly, enough have been found with identical broken limbs to suggest that destroyign their arms and legs had some sort of ritual significance. But what were these, and why did they predate rice farming, but vanish from Japan after?
These photos are of the clay pieces contained in the Museum of Culture at Santo Domingo in Oaxaca. I will fill in detailed information about them at a later date. Some are as early as 600 B.C., others from the classic period of 500-900 A.D. The oldest ones were found at San Mogote, a site which pre-dates Monte Alban.
I took the photos in sepia because I found that it showed the form more clearly. The rooms where these figures were displayed were quite dark, and I had no tripod. Had to hold my breath and steady the camera.
Two little Love Snails in the grass, happy as could be! There's a little lady bug who stopped by to greet them. Leaves, vines and a red heart outline the base. These little Love Snails would make a wonderful Anniversary, Wedding, Valentines Day or Shower Gift. They would also be a perfect Cake Topper for a Wedding or Anniversary. The base measures approximately 3 1/2" wide and 2" long.
This postage stamp relates to the Estremoz Clay Figures, an art form more than three centuries old.
The “Craftsmanship of Estremoz Clay Figures” is on the UNESCO List of Intangible Cultural Heritage of Humanity.
In this image I took a statue which my friend brought me and placed it near the window on a base of black card. I like the tones of the light and the depth of field on the angels wings in this shot. The title is taken from the name of the statue.
I now have six images to choose from so am not going to try anything else on the basic assignment as I really want to try and have a go at the advanced.
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