Jasmine Amy
国籍：英国 · 驻场时间：2019年
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Jasmine Simpson
Having spent some time in Jingdezhen, China, during the summer I was witness to a whole host of making techniques that I would like to approach and inspiration for my direction within art. As I am spending my autumn term in Jingdezhen, it will be ideal to utilise the facilities and techniques that I saw. One of these was the construction of large scale works in the ‘Big pot factory’. Here I saw ceramic pieces of considerable size being built. I would like to work with these new found connections in China to make large pieces of a scale I have never worked with before.
My time in China also made me think a lot more about my exploration of the surface of the clay, as I saw techniques such as Qing Hua (traditional cobalt painting onto porcelain) and the one stroke carving where the clay is carved away in a shallow fashion to cause the illusion of depth. I was inspired in a Qing Hua workshop hosted by artist Huang Fei and his innovative use of cobalt, where he would manipulate the cobalt with water and high skill with the brush. I feel I have more experimenting to do with clay surfaces, I want to enrich my pieces with the use of mark making and interesting surface techniques. To help me improve this I will become more expressive in my mark making, practicing in the medium of painting and clay surfaces with a way in which I open myself up, capturing an essence of the subject in my work and abstracting it in certain ways. I feel that currently I am too refined in the way I record/paint a subject and want to add a bit more energy into my work.
As animals have always been a major influence in my work, I feel this would be a good subject to draw attention to. I have always been fascinated with human curiosity in nature, the way our ancestors used the abstracted forms of animals to interpret freedom and spirituality and godlike entities, becoming depictions of mythology throughout different cultures, I feel through these interpretations of creatures we can learn a lot about the human psyche (eg. Dragons are thought to be an amalgamation of our deepest primal fears, the lion, the snake and the eagle). From humans first recordings of animal’s hand painted onto cave walls thousands of years ago to more recent scientific recording in works by the likes of Audubon which have then gone on to influence more contemporary artists such as Walton Ford.
An artist I am currently looking at Maléne Hartmann Rasmussen, I enjoy the visual narrative in her work and the dreamlike scenarios in her work. Another artist is Rebecca Appleby, her dramatic lines and urban inspired surfaces are very interesting and I particularly like how the mark making and surface in her 2D work ties in with her 3D ceramic vessels.
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Whilst in Jingdehzen I want to explore surface and scale. I'd like plaster for press moulding and casting, I have a few ideas in mind.
I'd also like a range of clays, stains and oxides so I can explore the surface decoration. If I think of anything else I'll let you know ASAP.
Having spent some time in Jingdezhen, China, during the summer I was witness to a whole host of making techniques that I would like to approach and inspiration for my direction within art. As I am spending my autumn term in Jingdezhen, it will be ideal to utilise the facilities and techniques that I saw. One of these was the construction of large scale works in the ‘Big pot factory’. Here I saw ceramic pieces of considerable size being built. I would like to work with these new found connections in China to make large pieces of a scale I have never worked with before.
My time in China also made me think a lot more about my exploration of the surface of the clay, as I saw techniques such as Qing Hua (traditional cobalt painting onto porcelain) and the one stroke carving where the clay is carved away in a shallow fashion to cause the illusion of depth. I was inspired in a Qing Hua workshop hosted by artist Huang Fei and his innovative use of cobalt, where he would manipulate the cobalt with water and high skill with the brush. I feel I have more experimenting to do with clay surfaces, I want to enrich my pieces with the use of mark making and interesting surface techniques. To help me improve this I will become more expressive in my mark making, practicing in the medium of painting and clay surfaces with a way in which I open myself up, capturing an essence of the subject in my work and abstracting it in certain ways. I feel that currently I am too refined in the way I record/paint a subject and want to add a bit more energy into my work.
As animals have always been a major influence in my work, I feel this would be a good subject to draw attention to. I have always been fascinated with human curiosity in nature, the way our ancestors used the abstracted forms of animals to interpret freedom and spirituality and godlike entities, becoming depictions of mythology throughout different cultures, I feel through these interpretations of creatures we can learn a lot about the human psyche (eg. Dragons are thought to be an amalgamation of our deepest primal fears, the lion, the snake and the eagle). From humans first recordings of animal’s hand painted onto cave walls thousands of years ago to more recent scientific recording in works by the likes of Audubon which have then gone on to influence more contemporary artists such as Walton Ford.
An artist I am currently looking at Maléne Hartmann Rasmussen, I enjoy the visual narrative in her work and the dreamlike scenarios in her work. Another artist is Rebecca Appleby, her dramatic lines and urban inspired surfaces are very interesting and I particularly like how the mark making and surface in her 2D work ties in with her 3D ceramic vessels.
___________________________________________________________________________
Whilst in Jingdehzen I want to explore surface and scale. I'd like plaster for press moulding and casting, I have a few ideas in mind.
I'd also like a range of clays, stains and oxides so I can explore the surface decoration. If I think of anything else I'll let you know ASAP.