FUN WITH FUNLOLA COKER

This past weekend I attended Funlola Coker’s workshop “Mark Making on Enamel.” Coker is an artist from Lagos, Nigeria but moved to Memphis, Tennessee in 2007 to pursue her BFA in sculpture from the Memphis College of Art. Although she majored in sculpting in college, she went on to focus on metalsmithing and jewelry making with a focus on enameling.

As I walked into the metalsmithing studio in the Windgate Center for Art and Design on campus, my nerves were shot: I was one of the two people at the workshop who had never done metalsmithing before.

Although the fire, kilns and sharp metals that we used for the workshop were out of my comfort zone, Coker was extremely thorough in her demonstrations.

If you’re anything like me, you likely know nothing about enameling. Enamel is a powdered glass substance that can be applied to metal and melted to create a smooth coat of color.

You’ve likely seen enamel artwork out in the wild; if you’ve ever seen one of those metal pins with a smooth, glossy coat of color on top then you’ve seen enamel in the works.

However, what we focused on in the workshop was a more artful and experimental approach to enameling than a pin. On Friday, we learned the very basics of enameling: how to clean your metal plates, how to apply enamel on to metal and two methods of firing: torch firing and kiln firing.

The application of the enamel is the easiest part of the process. It is similar to how one would sift flour. I picked my first color— an opalescent purple—and transferred the powder to a fine sifter before tapping it to apply the enamel in a thin, even coat.

I first attempted torch firing. Although torch firing is much more unreliable than kiln firing, the process is more involved and satisfies my pyromaniac urges.

My clumsiness proved to be an obstacle when I transferred my metal sheet to a trivet and then to the firing station. After dropping both the trivet and metal multiple times, I eventually steadied my hands and successfully set the trivet atop the torch station grate

After turning on the torch with a striker—the same one you’d use to light a Bunsen burner—I started the process of torch firing at last.

I followed Coker’s instructions and positioned the flame under the metal grate, slowly moving the torch up. Eventually, the fire begins to surround the trivet, nipping at the metal piece. The heat of the torch melts the glass enamel, creating a shiny, beautiful surface.

However, once I took my flame away and let my piece cool down, I was a bit disappointed with the outcome. Instead of the enamel being that lustrous purple color I desired it was a deep, royal purple with pink speckling the edge.

I think the “bounty hunter” might be one of the most terrifying villains I’ve seen in a children’s movie.

Every time he was on screen I got goosebumps, and it wasn’t because the theater was cold.

He’s literally Death.

Because of this, there was some backlash from parents who believed that the movie was too scary and dealt with topics too heavy for children.

To be fair, there were quite a few scenes that made me a bit emotional, but that’s because I actually understand the heavier topics that were talked about, like animal abuse, regret, panic attacks, family and mortality.

Despite the spooky wolf and heavy topics, I don’t think that “Puss in Boots: The Last Wish” is too scary for the average child. It is an entertaining movie with a lot of important lessons that can be enjoyed by adults and children alike, and I recommend it to all.

BY EMILY WELLS

But what was a disappointment swiftly became an avenue for experimentation. I found myself applying different enamels and trying different experimental ways to fire: what if I stopped firing my piece the moment the enamel melted? What if I fired my piece well beyond its melting point?

None of the experiments turned out the way I expected them, but the excitement of waiting to see the result was the best part.

But eventually my experimental urges ceased—I wanted to get a reliable result. That’s where kiln firing came in. To kiln fire, I followed the same preparation process. Although kiln firing is much less involved, it’s quick and easy.

After popping my piece into the kiln, I simply waited until the kiln hit 1450 degrees and then began to check. After the trivet turned a bright red, I promptly removed my piece and let it cool down.

With Kiln firing, I had a greater sense of control over the texture of the enamel. I found that as you fire, the texture of the enamel changes: a speckled, grainy texture, a texture that resembles an orange peel, a smooth texture, and a liquified one that leaves the edges burnt.

Kiln firing also makes it easier to use more advanced techniques like etching, glazing and drawing. Drawing was my favorite method I tried as I was able to achieve interesting effects with the graphite depending on how long I left my piece in the kiln. If I left my piece in the kiln for a longer time, I found that the graphite would bubble and create a pattern that mimicked stippling.

Although I felt unprepared in the beginning, I had a blast once I hit my stride. Seeing people’s process and their outcomes inspired my own process—a feeling that’s specific to a workshop. It was nice to sit back and learn without focusing on a grade or how your work will be received.

Even if you are not an art major I would highly recommend you attend one of the workshops held in WCAD. They’re a fun and completely free way to explore mediums from established artists.

BY SKYLAR BOONE