II 4 The middle part of the new single sculpture
Figure II 5 The new single sculpture, one half of the ‘heart’-top-part
Figure II 6 The base of the new single sculpture
In order to illustrate a sense of the water, I applied the copper-green glaze11 .
On the engobe coating background, I stippled glaze and underglaze coloured dots. Colours of the dots were decided relevant to colours of the engobe coating background:
・White engobe: Opal luster glaze, transparent glaze, pale grey underglaze, pale yellow underglaze.
・ Pale grey engobe: Transparent glaze, white underglaze, pale green underglaze, pale grey underglaze, copper-green glaze.
・Pale yellow engobe: Opal luster glaze, transparent glaze, white underglaze, pale yellow underglaze
・Pale green engobe: Opal luster glaze, transparent glaze, white underglaze, pale yellowish green underglaze
・Green engobe: Transparent glaze, white underglaze, pale yellowish green underglaze, copper-green glaze.
11
‘Copper-green: slightly bluish green derived from copper oxide, and one of the basic ceramic colours.’ George Savage・ Harold Newman (2000) AnIllustratedDictionaryof Ceramics, Thames & Hudson, p.85.
In order to increase a lustre12 effect when the sculpture is illuminated, I stippled the transparent glaze on its surface. The consequence of transparent glaze is that the glazed finishing and the unglazed finishing are virtually in the same colour tone but the lustre and matte feel of material will be born and create an entirely distinctive nature for each. Furthermore, in order to attain a feeling of variation within the white tone, on all of the bright portions’ surfaces, I stippled the opal luster glaze which would bring out a pearl iridescence.
I imagined a perceptible illustration of a glittering white lotus which could be transferred to a genuinely beautiful heart (i.e.soul) by the above colour scheme.
Figure II 8 The outlook of the new single sculpture, 50x80x110cm, ceramics, 2016
12 “Lustre: a technique of decoration giving a metallic (sometimes iridescent) appearance, either as a ground completely covering the piece, or as a design or pattern; largely used on pottery, it was also used occasionally on porcelain. Two processes were employed: Stained (iridescent) Lustre and Metallic Lustre.” George Savage・ Harold Newman (2000) AnIllustratedDictionaryofCeramics, Thames & Hudson, p.183.
II.3.3.c Firing process
In accordance with the complex-surfaced shape and my current decorative method’s nature, I eliminated the biscuit firing process because the kiln loading process of large scaled sculptural parts demands significant conditions. It is risky to move the unfired pieces back and forth from the practice studio to the kiln room. It is therefore ideal to be able to limit firing to one time.
An oxidation firing at 1230 Celsius degrees was executed for the application of high temperature glazes on the sculpture. Because of the thirty kilowatt electric kiln’s volume, there were two firing batches.
II.3.3.d Assembly process
After retouching all of the fired parts, a temporary assembly was conducted. Then some adjustments were made at the conjunctional spots between partials. Metal sticks were employed as supporting braces and they were attached to the ceramic parts by epoxy resin.
II.4 The outcome
II.4.1 Description of the installation
Looking at the installation, the white single heart-shape sculpture plays as a starting point of the composition. Its shade, which includes a number of other smaller single sculptures placed in a heart-shape, is spreading out from its ‘bare foot’ From that starting point, there is a dark portion on the left side and a bright portion on the right side. Regarding the emplacement of this shade, according to me, a bright portion and a dark portion concurrently exist inside of a human’s heart. In my childhood, I was told that on my shoulder, God is sitting on the right side and the Devil is sitting on the left side. Along my path, the Devil will occasionally win, but generally, God’s predominance should be better. This moral principle vaguely remains in my memory up to now
II.4.2 About the outcome and the proposal of its advancement
There is a concern regarding this current installation, that each sculpture as a structural element of this composition has become unobvious Additionally, in a view from the front side, the new white single sculpture-the starting pointdespite being the front side of the whole installation is concealing the other sculptural elements placed at its rearward side. Therefore, a question concerning the necessity of this installation option has burst out. Nonetheless, this installation came from the essential aim of exhibiting my research during the last two years. We should not consider each element within the installation a single sculpture; it is employed as one element contributing to the whole structural composition That means the primary idea will be lost if one of these
elements within this installation is eliminated or changed position.
In order to advance the visual outcome of the installation, some adjustments are necessary. At this current stage, the exhibiting floor should have different levels (a wide staircase for instance) or there should be a mezzanine floor inside an architecture with an atrium. If so, the installation will be altered by various perspectives coming from different heights. In another option, the height of each single sculpture within the installation should be exchanged. At the present, the group on the right side could be exchanged with existing sculptures in higher scale, then the composition be rearranged. Following this resolution, the visual outcome of the installation would not be as flat as it appears now, and the whole physical structure of the installation would lean onto the left side (higher on the right side and lower on the left side). As a consequence, the installation could attain a better three-dimensional appearance.
Figure II－ 10 The Entrance Exists, the front side of the installation at Art Space Saga / Kyoto Saga University of Arts, approximately 200x250x110cm, ceramics・January 2016
Figure II 11 The Entrance Exists, the rearward side of the installation at Art Space Saga / Kyoto Saga University of Arts, approximately 200x250x110cm, ceramics・January 2016
II 12 The Entrance
_β the rearward side of the installation at Kyoto Municipal Museum of Arts approximately 200x250x110cm, ceramics・ February 2016
References
1 Onishi Masataro (1996), Pottery and Glazes-Basic Thinking, School of Science and Technology.
2 Onishi Masataro (1983), Ceramic Clay and Kiln Firing, School of Science and Technology.
3 Onishi Masataro (1976), Ceramic Glazes-Theory and Practical Adjustment, School of Science and Technology.
4 田巻保・諸角裕 (2001), Kiln for Making Pottery-Building and Firing, Tojiro Books, Futaba Publication.
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10 Terry Trucco (1998), Color Details and Design, PBC International INC.
11 George Savage・Harold Newman (2000) An Illustrated Dictionary of Ceramics, Thames & Hudson
12． John Britt (2004), The Complete Guide to High-fire Glazes, A Lark Ceramics Book。
13． https://ja.wikipedia.org/wiki/Pointillism
14 https://khanhhoathuynga.wordpress.com/2009/04/12/g%E1%BB%91 m-bien-hoa-d%E1%B%93ng-nai/